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SJIoRNITHOPARCVS 

HIS e5MlC%0L0qVS, 
OR 

INTRODVCTION: 

Containing the A rt cf 
Singing, 

Digcftcd into Fourc Bookcs. 

NOT ONELY PROFITABLE, BVT 
alio ncccflary for all that arciludious 
cf Muftcke. 

ALSO THE D JMENSION AND PER- 

fttf Vfe of the Mokochotd, aaording tt 

Guido Arctinus. 

BY iohn nor land LVTEN1ST, 
Lute-player, and Bachelor of Muficke in both 

the ZJ*iurr/ities. 




mm 

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ass, 

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•>*«*£ 



ZOiYDOiY: 

Printed for Thomas Adams y dwelling in Pxilcs 

Church-yard,at the Signcof the 

white Lion. 







me 

A X 07^ 




TO THE RIGHT HONO- 

RABLE %0<BE%T EARLE O F 
Salisbury, Vifcount Qranborne ,Baron otEfimgdon, 

Lord High Treafurer of England^ Principall Secret arte to the Kings moft 

excellent MaicftiCj Maiftcr of the Courts of Wards and Liucricsi, 

Chancellor of the moft famous Vmuerfitie </ Cambridge^ Knight 

of the moft Noble Order of the Garter 9 and one of his U\i*iefti;; 
moft honourable Prime CounfcII. 

Our high Tlacc, your princely Honours andVcr* 
tuesjthe hereditary Vigilance andxcijcdomcyvhcr- 
with Hcrcu\c$-lil{e y youafftfl the protection of the 
whole State: Though thefe (moft honoured Lord) 
are powerfull encttements to draw all forts to the 
$ defire of your moft Noble protection. Tetbefides all 
thefeQn more particular by your Lordjhips ffecUU Fauors andGra* 
ces) am 1 emboldened to pre/ent this Father of Muftcfy Ornhhopar. 
chu s to your worthy eft Patronage jvhofe approouedWortys m my tra- 
uatles (for the common good of our JMufitians) I haue reduced into our 
Englijh Language \BeftechingyourLordJhip (asachiefeeAuthor of all 
our good) gracioufly to receiue this poore prcfentment, whereby your 
Lordfhip fhali 'encourage me to a future tafke^more new infubieEt^ and 
m memorable in worth .Euery Plant brings forth hislt^andof Mu. 
fstians ,M\lC\ckc is the fruit. JMoreouer fuch is your diutne T>iff op- 
tion that both you excellently <vnderfland>and royally entcrtatnc the 
ExercifeofMufickf^ which mind-tempering tArt^the graue Luther 
was not affraidtopUcein the next feat to r Diuintty 9 ^My daily prayers 
(which are apoore mans be f wealth) fhall humbly follicite the Author 
ofaUHarmoniefor a continuallencreafe of your Honors prefent bappt- 
ncffewith longltfe^andafuccefitue bleffng to your generous pofteritie. 

YourLord(hips humbly dcuotcd 



John Douland. 







Tothelieader. 

Xccllent'mcnhauc at all times in all Arts dcliucrcd to Pb- 
ftcritic their oblcruations, thereby bringing Arts td a cer- 
tainty and perfeflion. Among which there is no Writer 
more worthy in the Art of Muficke, than this Author Or*i- 
thoparcuSyVihoic Workers I hauc made it familiar to all 
that fpeakc our Language^ fo I could wifh that the reft itt 
this Icinde were by the like meanes drawnc into- out knowledge, (ince(I aifi 
aflurcd) that there is nothing can more aduancc the apprchenfion of Mu- 
fckejihtoi the reading of fuch Writers as haueboth skiltiilly and diligently 
let downe the precepts thcrcof.My induftry and on-fct herein if you friend- 
ly accept(being now retutnee! home to rcmainc)(hall encourage mefhort- 
ly to diuulge a more peculiar worke of mine owne : namely, My obferHati* 
ens and Dire&ions concerning the Art cf Lute-flying : which Initrument 
as of all that arc portable^, and cuer hath been moft in rcqucft, fo is it die 
hardefttomannage with cunning and order, with the true nature of finge- 
ring; which skill hath as yet by no Writer been rightly exprcflcd: what by 
my endcuours may therein be attained, I leaueto your future Iudgemenr, 
t*hen time (hall produce that which is already almoftrcady for thcHarueft. 
yklf, From my houfe in Fetter-lane this tenth of AprilL 1 6 09. 



Your Friend^ 



Iohn DoulancL 




TO THE RIGHT HONO- 
RABLE, WORTHY, AND WISE 

GOVERNOVRSOF TH£ STATE OF LVNBNBVR& y 

ANDKSAS ORNITHOT AKJ2UVS OF METNING, 
MAISTER OF THE LlBERALL SCIENCES. 

ppSsp^lp^e redd, that Socrates (hee that was 
by Apollos Or tele famoufedfor the 
wifejtman in the world) was wont to 
fay, That it hid been fir mens hearts, 
fbould haue windowes, thatfo the 
thoghtsmight bedifcerned.Thtspow 
crtfwe now had,honourable Lords, 
beleeue it,youfhould difcern my lorn 
towards you and yours. But be* 
caufe fpeechis the mindes inter pre* 
tour > and you cannot know men % 
and thir thoughts y la: by their 
words or writing, I am to in treat 
that you would take in as good Part 
thefe words, which in my abfence I vtter, as if I had inprefence deltueredthem. 
It is not out of any humor ofarrogancy or vain ofientation that I do this : but 
that vprigbt, gentle, and religious fafhion of yours, wherinyou exceH more than 
My tafttrhngs that border thefe Baltick coajls, thefe make me apai the art of 
Harmony, Which the Grecians call Muficke \ Muficke the nurfe ofchrijlian Reb- 
gion+md mother ofgoedfiifhionsffhenefiy, of Commonwealths, if in any thing 
we m 4 j ^ ;.:e credite :* the ancients. 

Thefe made me commit my fayles to the furious windes j thefe made megiue 
Zoilcs andl\\cxC\tcspower to rage outr me> thefe made me traucll many Coun- 
treys not without endamaging my eftate y to fear ch out tlye Art\ thefe made 
me many a time to/uftaine wearineffe, when I might haue been at Tefi\greefe^ 
when I might hauefolaced myfclfe i difgrace, when I might haue lined tngood 
reputation ; pouertte, when I might haue liued in plenty. But alfo thefe things 
(right Worthies) feemed to me not worthy the regarding, when I fought how I 
might whilejl others flept, whomyour fate doth nourifh (before all others) pro- 
fire your youth, and (0 con fec^uentli the youth of all Germany, drawing them to 
goodfafljions, recalling them by the honefl delights of Muficke from vnlawfull 
attempts, arid (0 by little and little flirre them vp to vert nous aft ions. For 
Socr2tc^andV f l2to,andaIlthe Pythagoreans did generally enaff, that young 
toe* and ma: desfrcu Id be trained vp in Muficke, not to the end their mindes 
might be incited to w*nt*nne(Je by thofe Ixwbles, whrh mrke Art to befo viltij 



B 



repute* 



The Authors Epiftlc. 



reputed of: but that the motions of the minde wight he ruled and gouerned 
'<y law ahdreajon. For feeing the nature of youngmen tsvnqutet y and w all 
things at firing acltghsfs* therfare refufeth/eucrer artsjt isby thehonefldc* 
hghts of Mujuk brought to tboje recreations jvhicb may alfo folace honcjl old age. 
Among thofe t lings wher with the mind of man is went to be delight ed y l can 
finJc no.Lng tint is more great y mere healthfully more honed 5 thsn Muficke: 
The power whereof ts/o great y that it rcfufcihncithcr'any fcxe y nor any wgCyind 
fjjMacrobius a man of mofl hidden &profoundlearn'wgJaith)tbtreis no brejl 
(ofauage and cruelly which is not moued with the touch of this delight. For tt 
doth drme away cares JerfwaJc men to gentlenefie y reprefjctbandjtirreth anger y 
nouri/beth arts y encreafeth concord aflame th hcroicJl minds to gallant attempts y 
curbeth vtce y breedeth venues , an ft nnrfeth them when they areborne y compo- 
feth men to good fasten. For among all thofe things which doe admit fence \t hat 
cnelj worker h vpon the manners of men y which touchcth his ea T cs y as Aultotlc 
in his muficall problemes doth more at large dtfeourfe. g jc nee was it that Aga- 
memnon btmgto see Cenerallf or their oian war res y as Philclphus reports y 
left a Mufitian at his houJe y who hfwging the pray fes ofwomens vert ties wight 
incite Clyteftincftra to a chafe and ht nejt life y wherein he didfo farrepreuaile y 
that thtj fay fje could not be ouercome by Egiflus his vmhajle attempts, till 
the vngodly wretch had made away the Mufitian y who onely hindred him from 
his wicked purpefe. Befides LycuvgLisjLotich otherwife he enaffed moftjeuert 
Uwesfcrthe Ltcedxmvmanshis countrey-men* yet did he veryfnuch embrace 
Muficke y us Qjintilian writes. J omit thofe ancient Philofophers y (for fa they 
rather chofc to be called y than to be named wife men) who didrepofe the furnme 
of their fudies in this art as in a eertuine Treafure-boufe. I omit thofe princes 
5r ho for the admirable fweetnejje of tf.is art fpend many talents, Laflly y 1 omit 
the rhofl religious ofiltnenfxho though they eft range then ftlues from a I worldly 
plcafurejrt dwell vpon this delight y ds if it were the onely heauenly one. Since 
ther fore this Art is both holy \and (wcet/wd heauenly participating of a diuwe, 
faire y end blcfied nature^I thought good to dedicate this booke 7 wherein all the 
knots pfpractickc Muficke arevntied y to the gentle youth of your Citie^fter it 
had been firfl broitglt forth at Rofloch y that famous Vniuerfity of the B J tick 
coajl, and fm'e amended by th: cenfureofthellders y andpublikely read in three 
famous Vniuerfities of Gcvm^nic/he fninerfitie */Tubyng,HcydclbcrgyW 
Maguntium . That by their defer ts the after ages being helpee y might pay the 
tribute oft hanks net tome, but to themes to the firfl niouing eaufes. 

Wherefore wife Father s % I befeechyour wifedomes to detgne this booheycur 
gent lefauour and acceptance, not contemning the bafejlil: or little volume of 
thatjrhtch ts rather hely thanple*fant y and Jet out not vpon any raflj humour y 
but vpon a true deuotion. For it is writ ten for them that f aft t not for tl e*n 
that are filed with deltcaetes /bough euen tiey may find here that which wiUft 
their flomackes. And fmce great things ft great men y fmall things fmaUmen y 
I a knowledge my felfe fmall 'j and therefore giue fmMgifts jet promt ft greater 
tvhenfoeuer J fhJlgrow greater. Farewell mofl lafpy y mofi wort by /n of! wife. 

The 



^%5r"%?%£%**«« 



(S®?^?^?^®®©®®®®®®©^ 

***/<« 




The Treface vpon the Dim/ion of the Work§* 

•* - • 

Ecing it is fitter, as an Emperour (aid, to caft out a 
few fit things, then to be burdened with many vn- 
ncccflary fupcrfluitics^hich precept Ifrr act puthim 
in mindc of, faying: 

Sluicquidfrecipiescjlo breuis y vt citedi&a, 
i\i aytint aninri delices^ teneant^fJeles. 

What ere thou teach,bc (hort : the learners brainc 
Brccfc fawes will quicker take, and beft retaine* 

Hence it js,that we hauc rcfolucd to colled into certainc moft (hort rules> 
the precepts of A&iue Mufickc, if not all, yet the cfpedall, out of diuers 
Authours.,For to know all things and faile in nothing, is a mark rather of 
diuine then of humane nature. Now thole, whom I herein followed as my 
leaders, and acknowledge as my lpcuall Patrons, are thefc : 




For 
Thcoricks < 



BoctiusRomxntu. 
Pin torches Chercn&us 
Saint Atigufline. 



\ 



For 



ydlt PLctntinus. 
Faber Stapulenfis. 



f 



[Guide Aretintss. 
Io wines fonttfex Re. 
Saint Bernard. 



FrMchimu Gaffer its* f 1 Saint Gregerie. 



Berne the Abbot. 
m ^ Uannes Ttntterts. 



Wherefore omitting all nccdlcflc circumlocutions, and aftc&ingfhoit- 
ncflc, the mother of truth, wee purpofc to open all Pra&ick Mufick in fourc 
Bookcs, for of (b many parts it doth confift.The firft whcreof,fhall fhew the 
principles ofplainc SongrThc next Mcafurall Song: The third the Accent: 
The fourth and laft the Counterpoint, as it were the gouernour and mother 
of the reft. The head of each Bookc,fhall in their places be mentioned, as 
occafion (hall fcruc. 



B* 



THE 







THE FIRST BOOKE OF 

O^frClTHOTAXCHVS HIS 
Muficke, declaring the Principals of 
plaine Song* 

The First Chapter* 
dftheDefinit$on 9 Diuifion^Proft^ andlmentors ofMufche. 

fr>g^^ j(jr^ Eing to dcliucr the Art of finging, tlian which in the 
*A rttsCxZfSA world thcic is nothing fweeter, left out of a fmall 
crrour a great may arifc, let vs beein with the defi- 
nition, by which the nature of all things is knowne : 
that is with the caficft things firft,that lo the Art may 
be more fitly deliucrcd. And then,hauing vnfbldcd 
the nature thereof in generall, wee will proccede to 
the pcrticulars, firft making the generall diuifion, 
and afterward handling each part fcucrally* 

7l;e generall Defer if t ion ofMuftckt. 

MVfickc(as Tranckinus Gafforus in the third Chapter ofthc firft booke 
of Theorie writcth) is a knowledge of 7*/w/*g,which confifts in found 
and Song. In found (I fay) becaufc of the mufickc which the motion of the 
Calcftiau Orbcs doth make. In Songjczft that melody which our fclucspra* 
dUfc^fhould be feduded out of our definition. 

The Diuifwn of Mufuke. 

BOetius (to whom among the Latine writers of Mufickc, the praifc is to 
be giuen) doth fhcvv in the fecond Chapter of his firft booke of Mu- 
fickc, dut Mufickc is three- fold.Thc Worlds Mufuke : Humane Mufuke: and 
Jnflrumentall Mufuke. 




Of the Mufuke of the World. 

\f\f Hen God (whom Plutarch prooues to hauc made all tilings to a 
V V certain* harmonic) had deuifed to make tliis world moucable^it 

was 



C a p> 1 * an ^ f Mentors of i5\4ufuke. i 

was ncecflary,that he fhould eoucrne it by fomc a&iue and moouing power, 
for nobodies but thofc which haiic a foule,can monc thcmfclurs* jk )>jwf- 
thinus in the firft Chapter of his firftbookc cfiTbcotU faith. Now thslt mo- 
tion (becaufc it is the fvviftcft of all other, and moftiegular) is not wichouc 
found:for it muft needs be that a found be made of the very whcclingof the 
Orbcs as Macrobius in Sommum Scip. hb.z. writcth. The like fayd B&etius y 
how can this quick-mouing frame of the world whirlc about with a dumb 
and filcnt motion ? From this turning of die heaucn/here cannot bcxcino- 
ued a ccrtainc order of Harmonic. And nature will (frith that prince of 
Romanc eloquence Ciccrejxi his (ixt bookc de Aeipub.jihat extremities muft 
needs found deepe on the one fidc,& fliarp on the other. So thcn^iie worlds 
MuGckc i^ an Harmonie^caufed by the motion of the ftarres, and violence 
of the Sphcarcs. Lodouicus Carltus Rodigwus y Uciionum antiquarum Uf> 9 ^ 
cap.ij. writcth, That this Harmony hath been obferued out of theconfent 
of the hcauens, theknitringtogether of the elements, and thevarictic of 
times. Wherefore well fayd DoriLus the Philcfophcr, That the World is 
Gods Organc . Now the caufc wee cannot hearc this found according to 
P/w^iSjbccaufe the grcancfle of the found doth excccJc the fence of but 
cares. But whether wee admit this Harmonicall found of the Hcauens, or 
no^tskils not much s fithccrtaineitis,that the grand Work -maiftcr of this 
Mundane Fabricke, made all things in number, wcight,andmcafurc,whcrc- 
in principaUyyVW^ Mufcke dothconfift. 



Of Humane Muficke. 

HVm&ne Mufukjs the Concordance of diucrs elements in one compound, 
by which chcfpirituall nature is ioyncd with the body^and the rcafbn- 
able part is coupled in concord with the vnreafbnablc, which procccdcs 
from the vnitingofthe body and the foulc. For that ami tic^by which die 
body is ioyncd vnto the foulc, is not tycd with bodily bands^ut vcrtuall, 
cau(cd by the proportion of humors.For what(faith Carltus) mokes the pow- 
ers of the foulc fo fundry and difagrceing to confpirc oftentimes each with 
other? who reconciles the Elements of the body?what other power doth fo- 
dcrand glue that fpirituall ftrcngth, which is indued with an intellcftto * 
mortall and earthly frame, than thatMufickc which cucry man thatdef- 
cends into Iumfelfe finds in himfelf c? For euery like is prefcrued by his like, 
and by his dillikc is difturbed. Henceisit, that we loath andabhorre dif- 
cords^and are delighted when we heare harmomcall concords^ccaufcw* 
know thcrcisinourfelues the like concord. - • •'• . 

OflnJlrumentattMupch) 

IKjlrumentJl Muficke , isan Harmony which is made by hclpc oC Inftru- 
mtnts. And becaufc Internments arc cither artificially naturall,thcreis 



jarninw ™wta^~rwm>w*^'**e*<*Aw +<^<mnmn*w*»tt<i^^ m *4 



Of the VefinitionfDmfion, Trofit, Lib. i . 



one fort of Mufickc, which is made with artificial! Inftrumcnts j another, 
which is made with naturall inftrumcnts. The Philofbphcrs call the one 
Htrvwwdlli the othctOrgankall. 

» i — - 
Of Organic aU Mufieke* 

/^\ Kgnmcdl Mufuke (as Ceclius writcth) is that which hclongcth to artifici- 
^•■^aiUnftrumcnts : or it is a f kill of making an Harmony with bcating,with 
fingring, with blowing : with bearing, as Drums, Tabors, and the like: 
with blowing 5 asOrgans,Trumpcts,Fluits,Corncts: with fingring,as thofc 
Inftru ments which arc commandcd,cithcr with the touching of the fingers, 
or articulating of the Kcycs. Yet fuch Inftrumcnts as arc too voluptuous, 
ixtbyCecliusRodtgiflsu rejected. 

of Harmcnkall Mufuke. 

pJ ArmonicaU Mufuke, is a faculty weighing the differences of high and 
** low (bunds by fence and rcafon, Boctius : Or, it is a canning, bringing 
forth the feunds with Humane voyce,bv the helpc of rfaturaU Inftrumcnts, 
and iudging all the Sounds which are fo brought forth. This as PUcenti- 
nus writeth in the third Chapter of thefecondbookeofhis Muficke:is two- 
fold, lnfpecfiue and Attiue. 

Of Injfecliuc Mufuke. 

I RJj>ecf foe Mufuke ,is* knowledge cenfuring and pondering the Sounds 
formed with naturall inftrumcnts, not by the cares, whofc judgement*? 
dul^butbywitandreafoiu • • .. 



Of All he Mufuke. 

ACtiue Mufuke , which alfb they call Prafiick, is (as Saint Aujlinem the 
firft bookc of his Muficke writcdi) the knowledge of fingingwcll : or 
according to Cutdo in the beginning of his Dottrwall y it is a liberall Sci- 
ence, difpenfing the principles of finging truely . Franchintu (in the third 
Chapter of his firft Booke of his Theoruk) dodi fo define it: It is a know- 
ledge of perfeft finging, confifling of founds ^ords, and numbers j which 
is in like (ort two-fold, MenfuraU, and Pl&me. 

Of Mtn[urdl Mufuke. 

MEmfurdU Mufuke, is dicdiuers <juaiititic of Notes, audita incqualitic 
of figures. Bccaufcchcy are augmented or diminifbed according 

as 



£*/m, and fnuentors of *5\4uficie, $ 

t . , 

as the moodc* tir»e> and froUtion doth require : of this wee will fpeake at 
large in the fecond Booke. 

of PUtne Muficke. 

Plane Mnficke y (zs Stint Bernard 2t\ excellent fcarchcrinto regular and 
trucConcincncc) doth write in the beginning of his Mufickc, laying: It 
is a rule determining die nature and forme of regular Songs. Their nature 
confills in the difpofition, their forme in the progrefsion and compofnion. 
Or plainc Mufickcis afimplcand vniforme prolationbf Notcs,which can 
neither 5c augmented nor diininifhed. 

Of the Profitabienefeof this Art. 

T He /V^/ of this Art is fo great, (as writethPope John the 22: of that 
namc,in the fecond Chapter of his Mufick)thatwhofocucrgiucs him- 
fclfc to it, (halliudgcof thccjualitic of any Song, whether it be trtuUll^oc 
curious <> or falje : He knowes both how to corred that which is faulty ,and 
how to compote a new one. It is therefore (faith he) no fmall praifc,no liD* 
tie profit, no fuch labour as to be eftccmed of flightly, which makes th* 
Artift both a Judge of thofc5V;**x which be compolcd, and a Corrector di 
thofc which be falfe, and an Inuentor of new. 



Of the difference betwixt x Mufuidn^nd a Singer. 

OF them thatprofefic the Art of Harmony jb\cxt be three kindes j (faith 
Tranchinw in the firft Book the 4-chap.ofhis Theoric) oneis that which 
dcalcth with Inftroments 5 thcochcr raakech Vcrfes $ the third doth iudgc 
the workes both of the inftruments, and of the vcrfes. Now the firft, whkh 
dcalcth with Inftruments, doth herein fpend all his worke$ as Harper s^ and 
OrgjniJIsySc all others which approuc their fkil by Inftrumcnts.For they arc 
remoued from the intcllccluall part of Muficke, being but as fcruants,and 
vfingr.orcafon : voidcof all i peculation, and following their fence one- 
ly. Now though they iecmeto doe many things learnedly and fkilfully, 
yet is it plaine that they ha ue not knowledge, becaufc they comprehend 
not the thing they profdJc, in the purcneflc of their vndcrfta.nding,- and 
therefore doc we deny them to haue Mufickc, which is the Scienceof ma- 
king melodic For there is knowledge without practife, and mod an end 
greater, than in them that are excellent PriAtioncrs. For we attribute the 
nimblcncffeof fingring not to Science, which is only residing in the (bule, 
but to prJvfKfc, for if it wercothcrwifc,cucry man the more fkilfull he were 
in the Art, the more (wift he would be in his fingring. Yet doc we not de- 
ny the know ledge of Mufickc to all that play on Initrumcnts, for the Or- 
ganift, and he t!ut fings to theHarpe,may hauc the knowledge of Mufick, 

C 2 which 



4 Of tbeVefinition&iuifionS^ Lib a. 

which if it be, wc account (uch the bcft Artifts. 

Thcfccond kind is of Poets , who arc led to the making of a vcrfc,rathcr 
by a nature U inftin&,than by (peculation, Thefc£w7/W lecludcs from the 
(peculation ofMufickc, but Auftin doth not. 

The third kindofMufitians,bc they which doc aflume vnto them the 
cunning to iudge and difecrncgood Ayrcs from bad : which kind,((uhic 
is wholy placed in (peculation and reafon) it doth properly belong to the 
AttofMvficke. 



WhohtruelytobecMedaMufitian* 

Hp I Icrefbrc he is trucly to be called A Mnfitun, who hath the faculty of 
A (peculation and rcalon^nothethat hath only apradick fafliion of fma-i 
ing: for fo faith Boctius lib.i.cap.tf. He is called a Mufitian, which takcth 
vpon him the knowledge of Singing by weighing it with reafon, not with 
the fcruilc cxcrcifcof pradttfc,but die commanding power of (peculation, 
andwantcth neither .fpeculation nor pra&ifc. Wherefore that praflifc is 
fit for alcamed man: Plutarch irihis Mufickcfcts downe (beingtorced vn- 
to it by Homers authoritie) and proucs it thus •• Speculation breedethonely 
knowledge y but praclifebrtngeth the fane to worh . 



Who be called Singers* 

THc Practitioner of this facultic is called a CVw/*r,whododi pronounce 
and fing thofc things, which rhcMufitian by a rule of reafon doth fee 
downe. So that the Harmon) is nothing worth, it the Cantor feekc to vttcr 
it without the Rules of reafon, and vnlcfle he comprehend that which h6 
pronounceth in the puritic of his vndcrftanding. Therefore well fiith 
Joan. Papa 22. cap. 2. To whom (hall I compare a Cantor better than to a 
Dr#a*4r^(wliich indeed goeth homc,)but by which path he cannot tcIL A 
Mufitian to a Cantoris as a Prttor to a Cryer : which is proucd by this fcn- 
tcncco[Cuidoi 

Muficorum, acCantorttm y magna eft diftantia^ 

Jftifount f illiduunt y qu*componitMufica y 

Nam qui ifacit, quod nonfipit y dffiniturbeftid 

Verumfitonanttsvociilaudentacumina y 

Super obit Philomela, vel vocalis Afina. J 

InixttoufitianSyand Prac7ithns, oddes is great : 
They docknow,thefcbutfliow,what Art doth treat. ; 
Who docth ought,yct knowcth nought,!.? brute by kind : 5 
If voices fbrill, voidc of (kill, may honour findc? 

Then Pbfomel y mu&bcMc the belJ, 

And Balaams Mi y Mufitimvia%. ] 

Therefore 



QapA. OfVoyces. 5 

Thcreforca Specuhtiue Mufittan, excels xhcPracfick: for itis much bet- 
ter to know what a man doth, than to doc that which another roan doth. 
I Icncc is it, that buildings and triumphs arc attributed to them, who had 
the command and rules not to them by whofe workc and labour they weret 
performed. Therefore there is great difference in callingonca Mufitian, 
or a Cantor. For jQuintihsn faith, That Mufitians were jb honoured a- 
mongft men famous for wifedome, that the fame men were accounted 
Mnfttians and Prophets > and VPtfe men. BuzGutdo compareth thofe Cantors^ 
(which hauc madccurteficafarrc off to Mufickc) to brute Bcafls. 



Of the Inuentors of Muficke. 

THc beft writers witneflc, That Mufickc is moft ancient : For Orpheus 
and Linus (both borne of Gods) were famous in it. The inuention of 
it is attributed to diucrs men, both becaufc the great antiquitic of it 3 makes 
the Author incertaine 5 and alfo becaufc the dignitie of the thing is fuch, 
and makcth fo many great men in louc with it, that eucry onc(if itwetc 
pofliblc) would be accounted the Authors of it. Wherefore fbmc thinkc 
Linus the Thcbancs fomc,thatG//>A*/tf thcThracian; {omzjhztJmphion 
the Dirccan 5 fome, that Pythagoras the Samian found out this Art. £*/?- 
bius attributes it to Dionyfius y Dtodorus y toMercury,Polybiusfo\hc&dcisc£ 
Arcadia^ with whom there was fuch cfHmation of Muficke, that it was the 
grcatcft difgracc that could be in that place to confefle the ignorance of 
Muficke. Neither did they this, faith Ceelius lib. 5. antiauarum Uftion. for 
\vantonneflcordclicatcnefle,but diat they mi^ht mollihc and temper their 
dayly labours, and befides their aufteritic and leucrc fafhions, which befell 
them by a ccrtainc fad temperature of thcclymc with this (weemcfle and 
gentlcncflc. Yet if we giuc any credit to Iofepbus, and the holy Wtiz^Tubal 
the Sonne of Ls.mechwzsthc chief c and moft ancient Inucntor ofit,andleft 
it written in two tables, one of Slate; another of Marble before Ac flood 
for the poftcritie.Thc Marble one (fbmc fay) is yet in Syria. But Icall fbmc 
errour arifc out of the multitude of thefc Inuentors, it is deerc that Tubal 
before the flood, that A/*/?/ amongthe Hebrcwcs, that Orpheus \Amphion> 
and fuch like among the Gentiles, that Pythagoras among the Grxcians, 
that Boetius amongthe Latincs, was firft famous for Muficke. 

The SecoNdChaptei. 
Ofyoyces. 

Oncord y (which rules all the Harmony of Muficke) cannot 
be without a VoycejLioxzVojce without a Sound faith Boetius, 
hb. 1 . cip.j. Wherefore in feeking out the dclcription of a 
Voyce> we thought fit to fcarch out this point, what Sounds 
arc properly called Joyces. Note therefore, that the (bund 

D of 




6 OfVojccs. Lib a. 

of a tcniihlc creature is properly called a Veycrjox dungs without fence 
haucno Wnw 5 as Calit4<v;x\KC^&nUquAr.lcil\ hb.\o.cnf>.^ 9 When we call 
pipes rtai/,it i* a n anflatcd word,and a C/itaehrcJh .Neither hauc alfcnfiblc 
crcturcs ar#wr:for thole which want blood ,vuer no / Vw.Ncithcr do filing 
vtrcrany ?<wv,bccaufc a rgw is the motion of the ayrc, but they rccciue 
noayrc. WTicrcforc onclv a fcniiblc creature doth vttcr a Vcyce, yet not all 
fcniiblc creatures nor witlicucry part of their bodies (for the hands being 
ftroken together male £ clapping,not a Vcycc.)kV<ycc therefore is a found 
vrrcrcd from the mouth of a perfefl creature, cither by aduifc, or fignifi- 
cation. By aduifc,(Ifav) beciufc of the coflc 3 which is no Vcyce : J3y ligni- 
fieation^becaufe of the grinding of the teeth f But bccaulc this defaiption 
of a Voyce, dorh agree onclv to a liucly Yoycc^ and not to a dcafc intificall 
rw 3 which clpccially, being afole fyllablc is dcafe, vnlcflc it be actually 
cxprcflcd 3 wc muft find out another defcriprion more agreeable to it.Thcrc- 
forca mufical! Voycc^ is a certainc fyllablc cxprclfing a tenor of the Notes. 
Now Notes if that by which the highnc^orlowncs of a Song is cxprcflcd. 

ll'hofirft found-out the Mj/fcall Voycei. 

BEing that al Harmony ispcrfc£cdby Yoyces^ndYoyces cannot be writ* 
ten 5 butremembrcdr (as Gafforus kh.$. Theor.caj>. 6. and i. Prjitfsap.?. 
faith ,* that they might therefore be kept the better in memory. Outdo Are- 
twusz Monkeyed by a diuine itifpiration,deuout!y examining the Hymnc 
of Saint Ma Bj/>//^ marked, that the fixe capitallfyllable* of theVerfcs, 
vi^rtyRe^MiyFa^Solj La y did agree with muficall Concords. Where- 
fore heapplyed them in the chords of his introdu&ory : which dcuife Ic+ 
nnnes the 2 2 . Bifbop of Rome allowed. * 

OftheDiuifwnofYoyces. 

T N the Fourth part of this Worke, I will handle that Diuifion, by which 
•* Veytes are diuided into Vmfones^ aquifbnes, Confones^ tumeies^&c. Here 
1 will onely touch that which will feruc our turne s Therefore of Yoyces, ' 

C \ SkarfsJ <^Mi U J ( Sharp J 

fccfidesof Yoycesfjmc be Superiours ; *,/>-. Fa^ol 7 La. Others be Inferi- 
ours : as Vt^ Rt 7 Mi. 

«— — *— w^^"*^— « ■ ■ ■■ ■ ■ ■» j ■ » ■ ■ ■ ~* 

JiuUsfor tUVoyces. 

p kft, yt, (in IkrmniuSl So^s) is die Iicad and beginning of the other 
*■ Voyccs. 

The 



C a M* 



Of Voyces. 



The fccond, The Superiour Voyccs are fitly pronounced in Defcendm^ 
and the Infcriour m AJtcnJwg. Yet ro this Rule there be Foure places 
contrary. 

Thefirft is this. In Ffmyow neucrfing vt y vnlefleyoumuftfing/i^ifi 
l/fa t mi*' . 

'I he fecondjn bf*h w/,yau muft alwayes Cng that Voice which the 
Scale requires. 




ww^u J lH stf hrt**^ 



A rrp^refsion of the Six MttficaU fo\ce;acccrMn^ :o the ?^uU of Arfim And Thcfim. 



~ •TKsTai!ri5CaA?Tsii^ . 
— OftheKgei.' 




HeWtfedcmecfche LitLncMtdioans^utating the 
diligencccf the Grx^ians ^whereas before the Sing- 
ers did mark their Chordswidi moft hard fignes) <lid 
firitnotca muficalllhtrodtkixon^vith Letters. To this 
Cuida Arttinu* ioyned thofc Voices he found our ? and 
did firft order die MuliciffAVw by lines and fpaces, 
^ ^j^^ gg^ as appcarcth in hi$ Ircreciicionj. Therefore a Xcj is 
a tiling compared ct a Letter aqd a Voyce. For the 
beginning of cuery AY* is a Lcttcr,and die end a Syllable; Of aVoicc(Ifay) 
not of Voyces, bodi becaufe alitu.c K^ycshauc^ct many Voyces, and al- 
fo becaufe the names of Gtner.iiititi> of S£tcuUus' y 'zxjsi of Dtjjercnces^ of 
which a definition dochccniift, cannot be exprcfledSft dicplurallnuinber. 
For AhiwaI is thcj\w'- r ,not Animdu *-a JO*i$>thc//<rcjtt,not men : rationale 
is the Jr]heu;: 5 not rdttoH^ulid : Or .rucrcJcrriSRlIy^ Key is the openi; 
of a Sont;, bccaolclikc as a AV/^pcn^a doi^^fb^iun^ :t the Song* 

*'-'■■■ ±?\? 



n S 



V / 



ofrhc XbriHKr anuDi^are i 



K 



es. 



Eyes, ;as f^tfi&tta^^ 22.:nnumbcr» 

"l hough Pope /^v;,and Guido (whom hec in his Fift Chapter faith to 
hauc bcciuhc molt excellent Muliciaiis after /&tr/aj}otie!v make 20. Thcfc 

D: ' Two 



8 



OfVqyces. 



Lib.i. 



Two and Twcntic Kcycs arc comprehended in a three-fold ordcr.Thc firft 
is of Capitall Letters 5 the Second of (mall • the Third of double Letters. 
And all thefc Ktyrs differ one from die other in fight, writing) and naming : 
becaufc one is othcrwifc placed, writtcn,or named than the other. Of the 
Capitall chcrcbc eight, vis., r. A.B.CD.E.F.G. Of the fmall alfo Eighty 
n. b. c. d. t.fg. for bfa fci mi. is not one Key oncly, but two :• which is proo- 
ued by muutievs, vojets, and instruments. The fame you muft account of 
the vppcr bbfai-] i\ mi his Eight:ofthe double ones thcrebcSix,i;&. a&.bb. 
4 t] cc. dd* and ce. The order of all thefc isexprcfledinTcnlines and (paces 
in the Table following. 

Here follotvcs thcLitrodudtoricofG/*/*/* Arttinm a Bcnedi&uxMonke, 
a moft wittic Mufitian, who oncly (after Boitius did giuc light to Muficke) 
found out the voyecs, ordered the ktyes , and by a cert&inc diuine indu- 
ftryjinucntcd a moft cafie way of pra&ifc, ashcrc followeth to be fecne 




C*M* 



OfK&es. 



•5! 
S 

I 



st 
3° 



U ///jjfof. 



g ^/m** 



£Je/j& 



^ 



cWaut 



faHfr 



out 



HFttf 



fc 



fr 










O/Vik iJVjw xr Am& *r* t* be narked. 

OF JT^/fomc arc to be marked, or (as others call them) marked Keyes^ 
others arc called vnmarkedKeyes. Of the markcd,thcrc arc fiuc prin- 
cipal!, ™&.r vt,Ffaut, Cfolfm> Gfolreut> and DdUfol: which theAm- 
brofians (a s f ranch Mb. i f raft. cap. $.tcdoixs) did mark with colours. ffutt> 
vvidi red, cfolfaut with blew, doubled with fkic-colour. But the Grcgo- 
rians(wliom the Church of Rome doth imitate) marking all the lines with 
one col0ur,to defcribe each ofthe marked Kejes by hisfirft Lcttcr,orfomc 
other fignc, as in the Scale was mentioned. 

Thofc Kejes which are lefle principall,arc two, b round, and 4 fquarc; 
The firft (hews that the Voyceis tobcfung/i,thcfccondthatitistobc(ung 
win the place wherein it is found. And vnlcflc one doe hecdily difcernc 
b from tj , he doth confound the Song (as Bern* fay th)cucn Is wine and wa- 
ter being mingled together, one can difcemc neither. 



Tc :he Readers. 

C Eeing it is a fault to dcliuer that in many words,which may be dcliue- 
^ red in few (ecntle Readers) leauing the hand, by which the wits of yong 
beginners are hindered, dulled, and diftraflcd,lcarnc you this fore-written 
Scale by immbrtngit : for this being knowne, you (hall mod eafily,and at 
firft fight know the veytes* Keyes, and all the >M aliens. 

E Rules 



io Of Tones* Lib.i. 

■ -- - * ■ ■ 

Rules for the Keyes. 

FIrft,Of the marked Keyes one differs from the other a Fift, except wt> 
which is remoucd from Ffaut a Seuenth. 

2. The Keyes of an oddc number are contained in line, the Keyes of 
an cucn number in (pace 

3. All die figned ktyfcs, from which the Iudgcmcnt of other Keyes is 
fetched, arefctin line. . 

4. The Grcekc Letter is ptacfed in the bafer part of the Introductory y 
in honour of the Grcekcs,from whom Mufickecxmc to vs : TrorBerno the 
Abbot (in his firft Bookc of Mufickc) faith, The Latincs chofc rather to 
put the Grcekc letters than the Latine, thatthcGrcckcs may be noted here- 
by to be the Authors of this Art. 

j. All if ^beginning with one Lcttdr, doe differ anEight, faith Guido 
cap. y of his MkroL 

6. Of Eights there is the fame iudgement. 

7. It is not lawfiill for plaine-Song to goe vndcr, r vt> nor abouc tela* 
Hereupon it is, that the Three higheft Keyes hauc noinferiour Voyces> be- 
caufc beyond them there is no rifing : Neither hauc the three lowcrmoft 
fupcriour wjr^bccaufe there is no defcending vndcr them. 

8. As oft as in a broken Song, you goe beyond the ctftrcanie £ey e s 
(asyoudocoftcn) take your voyces from Eights. 



ThE FoVRTH ChAPT* JU 

Of Tones in GeneroU. 

Tone (as Guido faith) is a rule iudging the Song in the end, 
or it is a knowledge of the beginning, middle, and end oi 
cucry Song, (hewing the rifing and tailing of ic 

Of the dumber ofToney. 

BYthcauthoritic of thcCJfctcians,we fhould only ob(enH^.7V/M, (faith 
Guido Microl.11. i.Proton.i.Deusehn^JTriton^.Tetarton. But the La* 
tines confidering the rifing & falling.and diuiding each of the Greckc Tones 
into a uthenricke & plagallrto conclude cuery thing thit is fung within Eight 
Tones , agreeable to the eight parts of Speech, For it is not amide, (faith 
loan Pont.taf. 10.) that cuery thing which is fung, may be comprehended 
within Eight Tones y as cucry thing which is (poken, is confined within 
Eight parts of Speech. 

NowthclcEight Tones (as Francb. IA. yTheor. and laft Chapter, and 

lib. 




C*f*\* Of Tones. ji 

ltb.ipracf.7. cap. faith) arc by the Authors thus named, Thcfirft Dorian? 
thefecond, Hypodorion 5 the thiid^P hrygiaw (which Porphyrio cals barba- 
rous > the fourth, Hypophrygian 5 the fife, Lydian ; the fixt, Hypolydianj die 
fcucnth,^x^w»'» the eight, fomc call ffyperrnyxolydian \ others fay ft 
hath no proper name." 



Of the Finals belonging to the Tones. ? 

F/W/, (as Saint Bernard in his Mufkkc faith, both trucly andbriefcly) 
arc theLcttcrs which end the Songs, For in thefc muft be ended euery 
Song which is regular, and not tranfpofcd, and arc in number. Fourc^as 
Guidomitzih in the Dialogue of his Dotfrinall: 



(Dfilre -^ In which rFirft- y ^Seeondy *• 

^-Gfolrcvt) ends y-Seuenth'i v.£r>£/ -), V — 



OftheCompaJfes of the tones. 

THc Compafle is nothing clfc, but a drcuite or (pace allowed by the 
authoritieof theMufitians to the Tones for their rifing and falling. 
Now to euery Tone there arc granted but Ten Notes or Voices, wherein 
he may haue his courfc,(as Saint Bernard faith in xhe Prologue of hisMu- 
fickc. Hereof hecafligncs Three rcafons; to wit,The authoriticof thcZV- 
cachordeoi thePfaltcr: the worthineflc of cqualitie : and the neceflityof 
fctting the Notes downe. Although at this time the licentious ranging of 
our modern Mufitians,doth addeanEleucnthto cach,as in thefigure fol- 
lowing appeares* '."••" 



B> ^ */ 



12 O/Tohesi Lik\. 




&£ 






I 


2 


3 < 


* 


56 


Io 


8 




«tC 










10 




1 






& 






9 

<V - 




1" 

-3L — 




8 


J 




/?..-— 


~f *3 


r ■ i r ■■ 




*■ 






i 


5 

-4, 




L AmB: 




r Am6i: 


5 5 


\ Am&: 


i |i Am6": 


i 


4 

i 


Ambitus 
Fkgdes. 


Autm: 


ii 


< Auwew: 


1-. ^1 


I Autem: 

1 «H 






X 


X 
ft 


> 


3 I 




1 I 

2 3 


J 


2 


L 

1 . - - - 


I 

1 


J 






1 X 

2 2 




4* JC 




3 
4 


fr 




PIT 

5 




*— \ 


« 


4 


' •-■ 












vrotos " 


'Deuterof 


Iritos. 


TSfinfar- 




ThcFirft. The Second. The Third. The Fourth* 





Of the Refer cufsions of Tones. 

VK7Herupon the RepereuJSionjshkh by Guido is alfb called a Th^and 
v Y the proper and fit roelodie of each Tone. Or it is the proper inter- 
uall of each Tone^ as in the Examples following appcareth. 

■ Protof £ ' ■ I. 

JteXi .giucs the firft, Re fa giucs the fecond, 



v 



*#Ftt 



>/ D enter of «. 



*/»77 7f I - 



£ 



Afi w/ giucs the Third, M& giucs the Fourth, f?/*/ giues the Fift, 



*" '- *— 7V/4T/W ■ 



The Sixt giucs /•* Ar, *7 6/ vncuen Tttortos, vtf* doth giuc the laft. 

Rules 



Qap.^. Of Tones. 13 



Rules j r sr the Tones. ; 

F'Irft, All the oddc Tones are Authentically thecuen Plagall ; thefc arc 
to called becaufc they defcend more vndcr the finalA'r; : thcfc^ccaufc 
they doc more afcend abouc chc finall/Tr/, . ^ 

Thcfccond, Eucry Song in the bcginning,rifing ftraight beyond thefi- 
nall Note to a Fift, is Authenticall: but that which fabftraight way to a 
lhird,or a Fdurth, vnder the finall Kejj& PUgalL 

The third, A Song not rifing in the middle beyond the finall Mote to art 
Eight, although it hauc a Fife in the beginning's PL*all: vnleflc chc Re- 
fer cujsion of an Authenticall being there found, prefcrue it: as an Ant if hone 
is newly found, which is iudged to be of the Eight Tone^ becaufc it hath 
not the rifingof an Anthem in the middlc.But ihcRepercu/sicn of a feuenth, 
appearing ftraighc in the beginning, doth preferuc it,and make itrtmainc 
Authenticall. Sec Pontiff x cap. 12* 



By how man) wayes we may know the Tones. 



W! 



' E may know the Tones by three meancsrby the beginning: the mid- 
dle: and the end. By .the beginning j for a Song riling in the begin- 
ning ftraight waves abouc the finall Key to a Fifths Authentically before 
was fay d in the fecond Rule. By the middle, and firft,by the rifing * For the 
Song which touchcth an Eight in the middle, is Authenticall: chat Song 
which doth not, is f^j/Z.-fccondly by the Repercufeion y which is proper to 
cuery Tone, as before was fayd ; by which at firft hearing you may iudgeof 
what kindc a Song is. By the end,as before we fpakc of the finall Notes. 

Befides there be certain Songs ,which do afcend as an Authenticate de£ 
cendas a PUgall^vA thefc arc called Xeu troll, or mixc Songs, though in- 
decde Saint Bernard doeth not allow of them : for he faith, what execra- 
ble liccntioufneile is tiiis,ro ioync together thofethin£s,which arc contrary 
one to the other, tranfgrefling the bonds of Nature ? lurcly asicdoth make 
a difcontinuancc in conioyning/o doth it opci wrong to Nature. Therfore 
they arc ftarkc mad, which prcfume (o farrc as to rife a Pligall^ and def- 
cend an Authenticall. 

Yet are thefe Songs (in my judgement) to be very diligently marked in 
the end, to which Tone they encline moll For whilcil they difcend frcm a 
Fifttothchnall Note, they are Avthentickes -, but whileft they rife from a 
Third or a Fourth tu a finall, they arc Plagals : See Ponttfex in his 12. aad 
16. (hap. 



THE 



if Of Solving, Lib a. 



The Fip y Chapter. 
CfSolfaing* 

j \lcr&pcn\,Solfdfn* is die orderly finging of cucry Song by Mu- 
£ ficall Voytes , according as A// and Fa ilttll require. 1-brto «S<?/ 

/* (as Gafforus wiencfleth) is to cxprcflc the Syllables, and the 

names of the Foyces. 




Oft)jrec winners of Singing. 

C Very Song maybe fung three manner ofwayes: that is, by Solfung, 
*~* v, hich is for .YiMua^that learnc to ling : By (bunding the foundsonly, 
which belongs to InftrnmcntHlT^that they may aflrtfthc mindes of chem 
that heareor concciue them with care or folacc : Thirdly^ by applying, 
which is the workc of the Cantor, that fo he may cxprcflc Gods praifc 

Of Scales. 

BEcaufc the diucrfitic of Tones caufeth a diuerfiticin the SoIfain°fifpcci+ 
aJivakout m: and/i^in bfa Lj rm, which before wee concluded was not 
one oncly Ko , but two : therefore the induftrious Mufitians hauc deuifed 
Two Scales-, in which cucry Song doth runnc, and is gouerncd : and hath 
ordavnecjthat thefirftfhouldbc called L"j duraUoftheb; thefecond,£w*ff 
dibFUt. 

The gtnerdl defer ipt ion of tbt 'Scale. 

npHcrefbrc generally a Scale is nodiingclfc,but the knowledge of wand 
^ fij in bfa L*j mi 7 and in his Eights* 



What tfxScale[ { DuralIis. 

*T* He Scale I] Durallh* aProgrdTionofMuficall Voyccs/ifingfiom A to 
A b ft arpcly j that is,by the Vyte Mi. 



Wkat tie Side b Mull u. 

O Vt the Scaled Mollis a ProgrdTion of Muficall Ityas, i ifing fiom .4 to 
£/W/p, tlut is by tlic Voycc/i .• therefore a £ //*// Scilc doth al'Aayc* 
require fa in t/i Cjjw/^anda 1 ."j/U/f* Si al<^ #*/ : as in tlndulc tollowing 
you may fix. 




RaUs ofSolfdng. 

nrHcFirftjHethatvviii Solfx my Seng, muit abcuc ail chings hauc an 
-* eye to die T$ne. For die kno wlccgccf the r./»* is die inucniicn of die 
Scale, vnder which ic runnes. 

The Sccon d, All xkcTwcs runnc vnder the Scal^ :t "'" r«r.* ; excepting 
the fift and the tixc 

The Third, To hauea Song runnc vnder c| r«r^ :s nothing eife, but to 
(Ing Mi ia f fx ^ »r/,ar.d £ in a/ur Sole. 

The Fourth, When a Soiu; runrcs vnder a Scale ? 4 r«rf ,:hc Icwcrmcil 
Notes of that kinde are to be lung j but vnder a Scale b MolL die vpper- 
moft Notes. 

The Fift, Euery Siif.it* muf: needs !ookc,whecher the Somjbe regular,, 
or no» for the trani^ohcion of a Song is c!£ time* on oejiiion of chan- 
ging the Scale. 

The Si\t, -fcueiy Sv\?j; ending in the -v^V, i> regular, and not :ranipo- 
fed, faith Swiinc #r/«.;/v ui his Dialogue. 

'I he J&ucnihjNYhcniocucr 1 Song afleo J> from l^folre co . ; /j */ re b? 
a h:t , mediately or immediately, and further oncly lo a 'cccfnj^youmuil 
UDg^ii-.ii/a Li-v^iu cuciV jT^Ar^tdl tlieioiig doa^Uiiictuucii D !oire :f whe- 
ther \t hcautlvcdorno. Butth^AulcUiic^y.vhca x fongdodi not itraight- 
auyo fa!! to ? /-*/\asin thcHymnc, **«/ wris ttiLt y you may lee. 

'Ihcfcight, Uii/j':; v;;, and his cj^Iks, vou may :;oc iingw tor/i, :iOC 

b i coiiUai.\\:lc* 



16 



utations. 



Lib A. 



contrariwifejbccuifc they arc difcording and repugnant voyces/aith Fran- 
chintts ltb.i.£ratf.capj^ 

The Ninthjfe in placcs/vhcreheis marked contrary to his nature^doth 
note Mutation. 

The Tcnth,Thc Scale being varied 3 theAf///4//owarcalfo with it varied, 
both in the whole and in part. In thewholc,as intranfpofed Songs,- in part, 
as in conioyned Songs. 

Thcelcucnth, As often as/i ovmi is marked contrary to their nature, 
the Solfaer muft follow the marke fo long as it lails. 

The twclfc, Sccingtherc is one and the felfcfamc iudgement of eights, 
the fame Solfaing oiVayccs muft be* 

The SixtChaptbr. 
Of Mat attorn. 

Hereupon Mutation (as Gcorg. Valla lib^caf. 4. of hi Mpfickc 
proucth) is the putting of one Voyce for another. But this defi- 
nition, becaufc it is generally doth not properly agree to a Mu- 
fitian: therfbrc Mutation is(to apply it to our purpoie)the putting 
ofoncconcordforanothcrinthefame Key. Andbecaufcallf^warcnot 
concords,aldo notreceiuc Mutation.ThcrfoTck is ncceflary toconfidcr,to 
%vhich Vojces Mutation doth agree, and to which not,- for Li durcs arc not 
changed into b molsjnox cotrarily : as you may fee in the example following. 

Do myft agree injouncfe. 





Rule* 



Qap.y. Qrfntcruals. 17 

Rules for Mutations. 

FIrfl, As often as the Progreffion offixcMuficallr<yw wants, there 
muft ncccflarily be Mutation. 

2 No Mutation can be in a Key which hath but one Foyce, becaufe there 
oncFoycc is not changed into it fclfc, although it may well be repeated. 

2 InKeyes which hauetwo Voyces, there be two Mutations , the firft is 
from the lower to the vppcr j the fecond contrarily. From this Rule arc 
excepted Kcyes which haucf*yr«of one kinde,as ccfolfa,2ndddlafol. 

4 A Key hauing three FoyceS, admittcth fixe Mutations, although there- 
in you muft needs varic the Scale. 

5 Let there be no Mutation, vnlcfic neceffitic force you to it, 

6 The b moWVoyccs cannot be changed intofcj fquarc, nor contrarily: 
becaufe they arc difcords. 

7 Naturall Fojccs arc changed both into tj Dures, and into b mob, bo- 
caufcthey are doubtfull: exceptitnj mi and/?/, re m and fa, which arc not 
chanacdonc into another j becaufe they arc neucc found dwelling io one 
Key. * . ■ 

8 In the fallingof a Song, let die lower be changed into the higher* 
in the rifing contrarily. 

9 In a Key which hath one Foyce, there may be fo many Mutations, as 
there may be in his eight, becaufe of them there is the famciudgement* 

10 You muft make amcntall, not a vocall Mutation, vnlcflc two qr 
three Notes be put in the fame place tRat;rccciucs Mutation* 

The Seventh Chapter. 
Of Moodes,or Internals. 
N Inter uall (as Boctius, whole conceit for Muficke, no mart 




^ r >hcight, and contrarily 

fc of one Foyce from anothcr,confidcrcd by rifing and falling. 
Whence it is manifeft, that an Fnifon is not a Moode, although it be the 
beginning of Moodcs,** vniticis of numbers. For Boetuts faith, As vnitid 
is Ac beginning of pluralitie,and number, (b is arqualitie of proportions. 
Now *n Fnifon is, (according to George FalU kb.i.cap. 2.) a Foyce fo quali- 
fied, that it neither tendeth to depth nor to height . Or it is a conioyning 
of two or three Notes in the fame place, as appcarcth in excrtifc. 

Of the number of the Moodes. 

K] Ow the vfuall Interuals are in number 9, viz. a Semitone^ and that is a 
-* ^ rifing from one Foyce to another, (bv an impcrfcit fccond) founding 

G flatly 



i8 Of*5Moodcs, Lib.u 

flatly : and it is oncly betwixt the Voyces Mi, fa. It is called a Semitone, not 
becaufcitis halfc 2 Tone, (for a Tent cannot be diuided into nvocquall 
pans; butbecaufcitis animpcrfcar<w, for Semmn is called that which is 
imper fc<3, as faith Boetms lib. i . cap.i 6. Of how many forts a Semitone is 
I fhall hereafter in my Theoricks difcuflc. ' 

A Tone (as FabcrStatuUnfis writcth) is the beginning ofConfonances : 
or it is a Confonance cauicd by the number of eight. Yxn Macrobim faith* 
thatthc eight, is an number, by which Sympbonsekbtal ; which Jrppfo- 
,tie the Grecians call a Tone. Or it is the diftancc of one Voyce from ano- 
thcr by a perfeft fecond, founding ftrongly , fo called a Tonando, that is, 
Thnndring. For Tonarc, (as Joannes Ponttfex 12. cap. 8. faith) fignificth to 
thunder powerfully. Now a Tone is made betwixt all Joyces excepting mi 
and fa, confifting of two (mailer Semitones, and one Comma. 



A Semiditone. 



\A7 Hich Faber Supulenfis callcth Sepjuitonium, is an Inter u all of one 
v Y Voyeehom another by an impcrfctf third: confifting of a 7**r,and 
zfemitone according to Placentinus. It hath two kindes, as Pontifex in the 
eight Chapter faith > the firft is from re to ft-, the fecond from aw to fol,*s 
in excrcife will appe^c.* 



A Bit one. 



S a perfect third : fo called, becaufc it containes in it two Tones, *$ Placen- 
titis 2nd Pontifex wimeflc. It hath likewifctwo kindes, the firft is from'W 
to mi i the fecond from fi to U. 



i 



Diatefiaron. 

T N Boetiuslib. ucap. 17. It is a Confonance of 4. Voyces, and 3. Internals. Or 
A it is the leaping from one Voyce to another by a Fourth, confifting of two 
Tones, 2nd a letter/emit one. It hath three kinds in Boetius #64^.13. and in 
Porrtifex cap.%. the firft is from it tofa,thc fecond fromrr to fol, the third 
from mi toft. 



• Diapente. 

T S a Confonance of fiuc A^w,and 4. Internals, as faith jr^r/iiM* /#. 1. op. 

1 1 8.0r it is the leaping of one Voyce to another by a fift,conlifting of three 
Tones, and 2fcmtt0ne.lt hath fourc kinds in Boetius lib. 4. cap.\$. Therefore 
Pontifex cah it the fjuadri-moode Inter uall. Thcfirft,is from vt to fol; the 
fecond, from/? to/* j thethird,fromw/to miitliefburdi,from/ico/Si« 

Semitone 



C a P*7* Orfnteruais. \? 

Semitone Dhpente. 

IS an Internalist ontVoyce from another by animperfe# fixt>?ccording 
to Ceorgitts V&lh hb. 3. af.n. confifting of three Tones ^ and two Si* 



mitones. 



Tonus Dhspente. 

T S the diftancc of one Voycc from another by a pcrfefl fixr. Which S U* 
* pulenfis affirmes to confift of fourc Tones h and a letter /emit one. 

Diifsfon. 

WHich onely is called a pcTtcttConfinsnceby Cuido in the $.Chaj* 
tcr of his< Microl. according to the fame Author in the 5. Chapter 
is an Inter uall: wherein a Dijsefliron and Litpenteirc corioyncd. Or (as 
Franchinus lib.i.pracfj.j.mitezh) is a Con/onana cfciehtjounds^nd feuca 
Internals. Qr (as Plurarch faith, it is a Confonwte weighed bv a duple rca- 
fon. Now for example fake 6. and 1 a. will make a duple reafon. But they 
to whom thefe defcriprions, (hall feeme obfeure, let them take this. It is a 
diftance of one Voyce from another by an eight, confiftingoffiue7ta«, 
and twolefler [emitones. It hath (cucn kindes, according to Boetix* and 
Cuido the moft famous M* fauns. ?or from cuery Letter to his like is a &i** 
fzfon. Bcfidcs cuery MooJe hadi fo many kindes excepting one, as it hath 
Voyces. 

HerefoQovretb d Directum for the Moodcs. 
77r r/* mjunt ma ds ^hi b*u omnu cxntile ru £Qntexu*r H r c\liC;t~Jmfonn4 % Sc mi» 



: m ^ r ^ v yA:u r 



** u / 



\ 



C 1 ' u&# 



zo OfeSMoodes, Lifa. 



♦m vt L i+V'^ 



y% u * f i%.<* * " *n » f f *fr 



&\9*/ »*.< hue mod* ci'copiofctt c*^ tapauctu mo An In to m htrmema fcrmetnr, 






Vtilifsinum efi earn tlumcmorUcomcfuLrti nee *h Iw&iKiftudio it quiefct r< 9 *Do- 

nsc vozubttcruaUum cog m t« Harmon toiiw facilimt quctt cofrchcdcrc noticuim. 

Of the forbidden Internals. 

THerebcibmeodicr Interuals^cvy rare 3 and forbidden to yongbegin- 
nersJPoras the learned licence of Orators 8c Poets,doth grant ccrtainc 
things to thofc which are as it were pafled the age of warfare, but doth dc- 
nythefame tofrcfb-watcrfouldicrsi fois it amongftMufitians .The names 
of thofc arc thefc 

Tritonus. 

A Nd it is a leaping from one Voycc to another by a (harp Fourth^com- 
** prehending three whole Tones without the femitone. Wherefore it is 
greater than Dtatejfaron j Stapulenfis faith thus, A Tr stone doth exceed the 
Confonance of a DiateJJaron.Pind this Mcode is vfed in thcanfwerc Jflifunt 
ditSyDominic* ludiu : and in thcanfwerc, Vox Tonitrui, in die faying, £#4*~ 
j^^ as thus: 



S'V»*S»f 



5 « "»/ ' "Mq* f 



/# 40 ties eft Zutnge U ft*< 



Stmidupente* 



IS an iitUruall by an impcrfeA fift, comprehending two 7$ne$^ witli two 
JoodoM^ which though it be not found in plainc-fong 3 yet dodi the 
ljrjowkdgctl*crcof much profit compofcrs, who arc held to auoidc it, 

SenuJitotiii 



C a f><7* ® r fnteruAlu 21 

Semiditonus Diapente. 

IS an Inter u/ill by an imperfect (cucnth. This according to PUuntiaiu 
hb.yrp. 24. comprehends f(A\rcTones, and txofemttones. The exart\pk: 
of this j:.m an Antiphone called , Z/«w tnducerent puerum Jbefu**, in the 

Parent** e in* ac ce pit* 



Ditonu* Dhpente. 

IS the diftancc of one Voycc from another by a perfect feucnth : confi- 
ding of fine Tones y znd one femitone, according to Ceorg. VdU Itb^. cap. 
26. It is found in the Refionforie^fmcli lego de fanclo MjLuritio y in the 

fxneia U gio Agxnenfium 



SemtdtJpajon. 
T S an imperfect eight, confiding of [ourcTones, ztiddzrccSemittnes, not 
1 to be vfed in any plaine Song, yet worthy to be knowne by componifts. 



Semitonium D:.:pd[on. 
T Sa leaping by an impcrfectNinth, confidingcf £acTo*es, and thrcey?. 
* mtenes.Xow a Tone with a Dupafonls a perfect Ninth, confiding of fixe 
Tores y 2i\dv*\ojemitones. 



Semid'stanus Dijpdfin. 
T Sai\ InteruJlby an imperfect Tench, as wicncfleth Full* the ji.Chaptcr, 
x confiding of fixe Tones y md three fern, tones. A Ditone with a true Diyafin 
is a perfect Tenth, confiding of fcuen Tones, and vsofemitones. 



Vupafin Suyente. 
IS a confoiuncc of twduc/^W/, and elcueii Internals, confiding ot 
J eight 7***, and three femitones. The examples of chefc Moodes arcverie 
rarely fecne in plaine Sons; in menfurall often. 



l\(didpd[on. 
J S an :n:em.Jl by a Fifteenth, occaiioncd (as Giith Macrobius) by aqi»- 
daipL- pi\» t \xt ; ^n. Whciein antajiiitieiayd wc lhouldreit, and goe no 

■N further, 



..j*S^\$^[ -^wr/^ns' 5 thatis 3 anInftrumcntof one firing, is thus trucly 
£tf/X&}> made.Takc a ncccc of wood of a yard long, or what length 



21 Of the T)itocnftoh Lib. v, 

_ , *+ 

further^ Jmhrofit" AW/w doth prone in theproucrh VtfciaPAfcn^ which 
is in Er4/w//<that other light o( Germany. Both bccautcthis is the natural! 
compafloof ma^ voice, which going aboucthis,is rather a fqucakingiand 
jjoing-vjvJe: 5 i< r?thcr a humming than a feyce : And alio becaufe .in'letle 
3orh deny MulVk to be mecrely V arhcmaiieal!!V>r Mufick mufl be fotcm- 
pcrcd, that neither fence be againft rcafon,nor rcilon againft fence. 

ThfEightChapter. 
0/7/jr DimcxfwK oftlxMonochcrd* 

yhzz^r you plcafc,of two fingers bredth,and Co chicke,makc it hoi- 

&jh JW\\ low in the middle, leaning the ends of it vnhollowcd. Let it 
^ **" be centered * irh a belly peccc well fmoothed, that hath holes 
in sulikc the belly of a Lutcahrough the middle of this, let thefc be fecrctly 
cirawnconeiine^and in the beginning of it, let one prickc be marked with 
the letter / . for that fnalbc the firft tedgade of the Inftrumcnt : then diuidc 
the whole line from die prickc F. into nine cquall parts, and in the firft 
prxeke of the diuiuons place vt* in the fecond nothing, in the third Cfiur^ 
in the fourth nothingan the nti Gjolrcutjn the fixe Cjolfdutjw the fcuenth 
Gjoireu; foully in the eight nothing, inthelaft oCtfer> which fhallpoflcflc 
thepiaceof the fecond Xagade* This done, againe diu;de thefpaceiwhich 
i: from vt to the fecond Ma^e y into nine parts. 

In the firft part fet^f Bale; in the th ; rd J fclrr^ in xhcGftJUmirei in the 
CxtD Ls/clrc; mthcicuenth^iWfr.Then from Arc to the fecond Ma£ade 
againe make nine parrs jin the firft fet ':; wBafe; in the third Ehmi/unhc fift 
l) m: in the fmal! letters , in the fixt £.W '-, in the feuenth l] L~, mi double. 

Thi:> done, diuideali this fpace from the firft to the fecond Mtgade into 
fourcparts: in the firft put bfc bafe; in the fecond /-"/**/ finalli in the third 
Fjm: fuarpe.Ther begin in hU bafe, and diuide the whole line towards 
the Cone into ^.parts , in the firft/ the Semutht betwixt I) & £ capitals 5 in 
tbefecone'//^ in the third., bbfa This done,beginin ihc/*/*/Awr,which is 
betwixt £ 6: £,and diuidc the whole line into 4. cquall parts. In the firft, 
plkcc^ ti#e Scffiione^ betwixt G capitall and final! •, in the fecond/' .iVw//- 
* **^ betwixt /J ar>d JE ; in the third/' ja J betwixt dd +nd ec : and if you fur- 
ther diuice the third into two equal! parts 9 youflu!!haue a ftwitmi: betwixt 
t^ncca. Then place the fx>t of your conipafIciuC'/*/p///,and diuide the 
Ipbtt towatds die fecond Mqade into two parts 5 in the middle whereof 
piMiufeij*. In like manner diuidc the fpace from dhfvlre towauh the f one 
into two cquall parts ; and in the middle place ddh/itl. I,afi]y,diiiidcili£ 
fpace from e toward: die fecond M*fjdt ; and in ihc middle you (lull hauc 
€c U> with the uue tJimerftM of the MotiO(\md.'\\\\% donc } iuihccACi;eame 

points 



of the *5A4onocbord. 




T>e Str:-g 



r- — ci 



Tfe Monacord. 



r 40£ M(* r f cf * na *\ 



**m*w&. \ 



T h s N i n r h C H h ? t fi n • 
0//JS* LefiKtiionJrejujnd-jfe of the Mcncchord. 




^^ which makes learned Schcilers. For it fnewes to others rhac 
which it lVie conceiues not 3 ir:e!s truth, it canncctcil how to lye, it initru- 
6ethci!:2endy 3 and reprehended: no mans lIcw.:c:nce:t.Ncw:t:s called x 
^f»Mckcra,bcc2l£z it hath but cncftrinc,as a 7>rr rr/W / is called th» which 
hithfoure. And a D^r^j/ri which hadi tenne, taith Io.w. Pont. zz. cap.?i 
of his Muikke. 



THe ltiMchcrl\s2s chieuy inuentcd tor d::s purpcie. :c be iudgectMu- 
fieal voices and intcruals:as alio to try whether :he !onsj be crae or ralic: 
furthermore, to lew hane-or-ind £d:e Mul:c:ans tiicir orrery, and die way 
ofatcaimihTchc truth. La::Ly,:hac children which JciirecoIcarneMuiic^e. 
may haue an eaiic meano to it, that it nuy intice beginners, direct diok 
chat be lorwaid.and ionuke of vrdearnsd learned. 



Of *'A* V;V j/V/j? Kcnviky} J. 
HP He vie of the X'cnoiwd jaith 3rrMC ! :*M.ucHiil -v. 2. Ji"hi>MtilicsC; 
■* i>>that we may know bow nuich ea*Ji \ovcc :s higher or lewer than > 
chcr.W hen ihereroiethouwiitleaineaSon^eiiCM me deeped, orchy leite 
hv thehehvot Ynv Mcnco^r .•*, let thy Mo»uJr.x,r.* betuic dice 011 die cable, 
aiuluuike 1:1 what A: > the r»ucNo;e of tiuc Sluuj i>,wiiich dioudctireiito 
Know. l!u.sbvi:iijtOi:iu!, LOvxh the *a;uc a tiic V^via^/*. withacjuiil, and 
the I Mud it ''iucv is that thou duiulh I Su> runue <.»uei eachNocc oc the 



h 



X>n-£ 



l± 0/ thc'Dcfimtkn.Troft^and Lib A. 

Song, and (o maycft thou by. thy fclfc lcame any Song though ncucr (b 
weighty. 



The Tinth ChaftrIU 

OfKufiCAFtfiA. 

L^^p^ Aincd Mufickc is that, which the Grcckcs call Sjntmtnc* y a 
^ L^f.-. Song made beyond the regular compallcof the Scales. Odit i; 
^ f ^vyj! a S° n g 5 which is full ofComuhftions. -/ . / 



OfCtm'mn&iom. 

HpHc Coniun«ft founds were called by the ancients Dijuntfs becaufc it is 
•* added to fongf bcfidcs their narurc, cither to make them more fwcct f 
or to make the MocJcs more perfect : for thus faith Saint BomrJ: In cuery 
kindc,w here it is meet a flatter found flxxild bc^Ict tlicrc be put a flat in (lead 
of a iWpc i yet coucrtly 3 lcaft the S^ngfccmc to take vponit thclikcncflc 
of another Tcnc. Now a Ccn;ur<ct is this 5 to fing a Voycc in a Key which is 
not in it. Or it is the fodainc changing of a Tone into a Semitone, or zfemi- 
tone into a Tone. 

Of the Diufion and number of Coniunfts. 
f^ OmutJUs are two- fold : that is, Tolerable ones, when a Voyceis fung 
^-^ in a /wry, wherein it is not 5 yet is found in his eight: as to fing Mi in 
A re^La in Vfvlrc. Intolerable ones, when a Voycc is fungin a Key which 
is not in it, nor in his eight, as to fing Fa in Elamt^Mi in Ffjut. Of thefc Con- 
iunfls there be twufigncs, viz,, b round and L"]. The firftfheweth that the 
Conmnci is in t; dure places thefecond,that it is in ^/Zu/ places. 

There be 8. Cwuwtls inoft vfuall : although there may be more. The firft 
inaBufe^is marked with round £. "The fecondin £ final], is marked with the 
fame fignc.Thc third is in Ffit't^nd is marked with "|.Ihe fourth in a fmall f 
is knowne by I fit. The fift, in c affinall by I] dure. The fixtjin e by h round # 
ThefcucTith,in/by ...The eight in ajbyv. There be examples enough to 
to be found of thefc both in plainc and menfurall Songs. 

Here folio &c 'S the fayn^d Scale. 

* I He famed Scale exceedes the others horh in height and depth. For it 
* addcth a hit we xndtr Vl bale, becaufc it fings/i in ,/, and icrifeili a- 
boue^Axb) twoccgrceSjfor in it it foundb/j.Whcr fore for thccxpidfing 
of it, there are necdlinJy required tweluc lines, as appcaicih in rhc figure 
following. 

Rules 



Qap.\ o. Of zSMufica Ft3a. 



25 




Tee Scjue of ids :r Sjncmcnon^jcta havp the '>J\Lituu<ms jure mudc m 



KaUsfarFiztJiMnfickc* 

FIrft, It is better, mdfoceter co- ling by tolerable Ctniuncts 2 than by the 
proper Voyccs oiKcjes. 

z Tlic tolerable Coniunas dee not fpoyie the Seng, but the infticra- 
ble ones. 

3 Muftcke may Ficc in any Voycc and AVr, for Cor.fonance fikc. 

4 Marking/* ia £/j t ***, or in any other place, if the Seng from that 
thall make an immediate riling coa Fourth,* Fife, cr an Eight, cuen there 
fi mult neceflarily be marked, to efchew a Tntwic,i Scmatdpent£ y QziSc*- 
wMi.ipj/i* y 2nd miiiliall^and torbicceu.vWcfi ; as appearcch Si: the example 
vnder written. 



An Sxcrxji jfFici* Mtifok. 






-m — 

T5X»5 



4---3E 



^ 






Thi 



_ _* ^M « J C TT _ JLi k 



16 OfSongandTranfpcfition. Ltb.u 

TmELBVfc NTHClMPTin. 

OfSon^andTranJJ>ofition. 

JHcrfbrc a Song is a melody formed of a Sound^Mood^ Tone } by a 
i liifcly Voice! lay by ay£W,bccaufc of i!ic Pricing of the Notes, 
which improperly we call a Song: By the w^^ Ivndcrftand 
' rifingand falling, becaufc of the prayers which arc read in an 
Vnifon.By the 7*w,bccauic of the chirping of birds, which is comprehen- 
ded within no Tone.tov within a SylUgftne is moo Ac andy%w/Y 3 that in a Song 
is the Tone and Scald fay aliucly Voycc^ccaufcofMuficall Inftrumcnts. 
Or othcrwifc : A Song is the fitting of aliucly Voycc according to riling, 
and falling, Or (zsGrforus writcth \vih\sTheorichlib.^.cap4.)-iiis the de- 
duction of many Voyccs from the fame beginning. And this defcription 
doth properly agree to this progrcflion of fyllablcs,bccaufcit is not a Song. 




Of the number of Deductions. 
HP Here arc therefore three Dcdu&ons of this kindc : die fir ft is called L] 
* duralljco bcfuiigfharpcly,becaufcit requires miinbfa b mi> and in 
his Eights. " ' 

The fecond is b flat, which runneth with a fweet and flattering Harmo- 
nic, and requires^ in bfa tj mi. 

The third is neu trail , 'and is called tarurall. For it receiueth in bfa L> 
«w,ncither mpozfa : becauie it comes not to fuch places. 



Xulesfor Deductions. 

FlrftjVVhcrcfocuer ft is put in the Scale, there is the beginning of fomc 1 
Deduction : where fa is put,therc the middle : where /j,there the end : 
as appcarcth in the figure following. 

C c ? ^ F ?' S^? r the beginning, 

In < F > Katurall, <b>b Idett < c > and h dure < middle, 
erf J Uj <**> cend. 

The fecond Rule. Of which Deductions this or that rule is, you (hall 
thus eafily know. Confidcr die voice that is there to be fung, with which 
itdeicendsto his foundation,! fay to Fit :and where you find any fuch, fee 
w!>at Deduchonbc^nb fo: for it will be of that Note which you iceke. 

OfTranftofition. 
\X7 Hereupon Trarflefition is die rcmouingof a Song,or a Key from 
^ * Improper place J ; or totranfpofeistoreinoueafong,or a Key from 
Cut proper pl*cc. Aud IranfioftiMi it two-fold, viz. Of die Song and of 
die r*j* 



Qajf.w. OfSonganctTranfpofition. 27 

QfTr*nftt>fition tfaSonfr 
T T is the avoiding (>f Contunifs, for whilft weftriueto avoide C<mwhcIs % 
* (bccanfe they marrc the Song) we doeelcnate the Song from the proper 
place of his cnd,abouc to a Fife, as dire&Iy appeareth in theRefponforie, 

He w Orhem. m .. . 

-Crhc giCarite r j 4 4 1 ♦ / ♦ 4 ^ 



/* inOrbem I tein or hem 



Oft I e AffmJX Kejes of Tones. 

THc Keyes (which wc call Ajfindtj be the Letters, which end irregular 
Songs : whereof according to Guido^Berno y 2x\d^vrxGregory 7 chore 
be three : Although the Amlrcfuns make more* 

rahmire 9 wherein ends r .fi^? ~> r Second-} 
yiz. <bf* t] »w> cuery Song ^TktrJ's and </V»rr/A tranfpcfcdTVd*. 
CcfilfautJ of the (Fift \ CSixt j 

Now this irregulamefle of Songs (as writeth Pontifex 14. chapter cf his 
Mufide) comes fomctime by licence, fomeriinc by the negligence of the 
CanttrSy fomctimes by reafon of ancicncncllc, which cannot fie gaindaxd, 
fomctimes becaufc of the Cwiiicrfoixt , that the Eafemay hauc place 
todefcend. 



OftheTrxnf^ofitiertofxRnle. 
|7 Irft, A Song of the fcucnth and eight Tones is net cranipcied.Notvp- 
* ward to Dl.ifolre y as the Ambrofuns are of opinion, becauie an Authen- 
tic)*, Tone hath no place of tifing to die tenth, neither down >x>Cfittt 7 becauie 
a PljgJl hath no place of filling to a £tt:neither emit you ciime abeue ee!a y 
not defcend vndcr r x t>2$ betlre haihbeeii dcciared.\\ before (faith Ioun* 
Fwtif!) It is fit ,that he which cannot hauc a Vicar^uoe aciniiuiter his buti- 
ncflc htmfelfe. 

a A Song ending in Vlifobre^ox. in Cfmt yis either an Amor fun Song^or 
corrupted with the ignorance of C \w?ors y \<> Puntifcx foith^W henfeeuer in x 
Song of the fourth Z^/zr, there fals any mijlicg, let vs fay, that it proceeds 
lloiii the vnNkilfulucilcoi thcC.w/i//\<, and is co be corrected *ith the cun- 
inn*; of the Mutitian*. tV.c the authority of tticGrcgerwu adnjiD> noiiich 

3 I he plac mg of one ftrange Voice in any Kcjjs a cauic,why the whole 
Songis tia->lpofeJ. 

4 'lidUj'pfitws i& an hclpe and excufc of the Comuttfs. 

5 i.a w\iciy cuiUpoiition be from a fthJljo a hit die peopec AffwJL 

\ * ^nicilc 



28 0/ Song and Tranfpofition. Ltb.x . 

vnlcflc ncccffitic compcll,that it be to be made to a fourth.For then arc wc 
forced to tranfpofc it to a fourth,when after thcTranfpofirion to a fift more 
Coniuntts rife than were before : as in the anfwere, ^>ux eft ijfa^ vndcr the 
tliird Tone may appeare. 



W^spK 



s 



f 



p±=^f 



SI** e ft$* rf £* m TrMtfpoJitio quirt* Tranftofitto qttar- 
Idriter. tarianonvaUns. tarUbenevalens. 

6 The fame Voices after Tranfpofition arc to be fung, which wcr« 
fling before. 

7 In irregular Songs tranfpofed to a fift,you muft fmg Mi in bfa\^ mi in 
cucry Tcncy vnlcflc it be fpccially marked wither. 

8 In Songs tranfpofed to a fourth^ is alvvaies founded in bfa L] mi: vn- 
lefle Mi bcfoccially noted. 

9 Tranfpofition to a fourth is knowne,when a Song is ended by a voice 
which agrees not to his Scale. Or when in the beginning of a trarnfjxrfcd 
Song,/i is found.To which tranfpofition Saint Bernard tecmes to bcoppo- 

Note.fac, inlaying this: It is fit that they which propound to thcmfclues an or- 
derly courfcof lifc^hauc alfo the Art of Singing $ and rcftraine from theli- 
bcrtyof thofe men, which regarding rather likeneflc than nature in Songs, 
difioyncthofc things which arcioyncd together, and ioync together thofe 
things which arc difioyncd, begin and end, make low and high, order and 
compofc a Song,not as they fbould,but as they lift : for by the foolifh tranf- 
pofition that fuch men vfc, there is growne fuch confunon in Songs, that 
moft are thought to be of a contrary fcfhion. 

10 A Song ending in Gfolreut^ marking/t in bfa tj mi is of the firft or 
fecond Tone tranfpofed to the fourth. And that which is in alamire^s of the 
third or fourth, as J%h* eft ifta, and fo of others. 



Of the Tranfpofttten of K eyes. 
rofai 



HP HzTranJpcfttionoxiL Key is the raifingorlow carving of a marked Key 
-*■ for want" of lines, of which there arc thefc Rules giuen. 

1 The tranfpofition ofKeyes doth not make the Song irregular ,bccaufc 
it varies not die regular end. 

2 By how much a tranfpofed Key doth defcend from the former going 
before ; fo much doth the following Note afcend abouc that tranfpofed 
Key : and contrarily/as in the examples following is manifeft. 

lUcfttnt comma qnutili pitch e pat riff* pi en m 

The 




Qap.\L 9 Of the Tones infpeciaiL .... ip 

The Tyviifth Chapter. 

OftheToneshfpeeiM. 

Eingthat to proceed from generalcic tofpccialty is more natu- 
rall to vs, as Ariflotle the Prince of all Philofbphcrs, and light of 
naturall knowledge, in the firft Bookc of his Phifickcs (hewcth. 
Therefore in a fit order after the gcncrall dcliucry of the Tones y 

let vs gbc to the fpcciall, difcufling more largely and plaincly of the nature 

of each. And firft,of the firft. 

Of the firft tone. 
THHe firft Tone (as S. Bernard faith) is a Rule determining the m then tick 
•* of the firft kinde.Or it is die Mtthenticall progveffion of the firft.Now an 
4«/^/tf/V<i/Zprogreffion,is the afcending beyond the FinallKey to an eighty 
& a tenth. And the progreffion of the firft is formed by that kind o{Diapente y 
which is from*/ to a: and of that kind of Diateffaron> which is from 4 to*/, 
faith Franchintu lib. 1 .praft. capJS.lt hath his Finall regular place in I>folre> 
or his vnregular in alamire. The beginnings of it according to Cut Jo arc C. 
D.E.F.G. and*, whofc capitall formcis this; 



k'Au.**nL 



'^uu:^Lfi^^ 



Capita, pi imitoni. S.Accrdosin xtcrnum. Gauiicirr.'is omncsindo. 



Of the differences of Tones. 

T^S Iffercnccs of the Eflcncesof 7<wj there be none, but for the vnlear- 
*^ ncd there arc fbme framed, that they may the cafilicr begin in the di- 
ners beginnings of Tones : faith /W//. 2 3. chapter of hisMufickc.Therefore 
I find no caufeof this,but oncly vfc : neither hauc Ifbund it written by any 
Mufitian. Neither doth Saint Bernard much like it. For the differences giuc 
occafion of many confufions and errours. Wherefore feeing our obfequi- 
oufncfle,\vhich wepcrformetoGod,muft be reafbnablc, leauing the diffi^- 
renccs, which arc by no rcafbn approucd, let the Readers oncly be carefull 
of the Capitall tcnours of Tones JLczR. they wind thcmfclucs in vnprofitablc 
and fuperfluous precepts, put on the darkencflcof the night, and make an 
cafie thing moft hard and difficult. For God delights not in vnrcafbnablc 
turnings,but in Songs well fafhioncd and regular, being he himfclfchath 
made all things in a moft regular and orderly fafhion. Wherefore the Pfel- 
mift faith, Praife the Lord in well-founding CymbatsSor he wouldjnot hauc 
faid well founding, if he would hauc had God praifed with cucry bellowing, 
fcreamingjor noyfc. 

K 9f 



jo Of the Tones infpeciall. Lib. i. 

of the Diufans of the Pfalmes* 

I Find there arc two forts of Pfalmcs, which we vie inpraifing God, the 
greater and the lefler : all Pfalmcs arc called Idler, except thofc wo, 
viz.Ot the blcflcd Virgin ,and o(z achat i<u.A\fo the Song of Simeon y m fomc 
Dioccflc is accounted for a greater Pfalmc,in (bine for a lcflcrjas I in going 
ouer tlic world haue found. 



T 



Of the true mannct ef Singing Pfalmcs. 
He authoriticboth oiCccUus £hodsginus y and of al the Diuines doth tc- 
A ftific, That the Prophet had a great myftcric in the Harmony of the 
Pfalmcs : wherefore I thought good to interlace (bme within this bookcof 
the true manner of finging.Whcncc to fingplalmcSjis to fine the praifes of 
almighty God with a ccrtaine ioy .In which matter there is luch diuerfitie, 
(the more is the griefc) thatcucry one feems to haue a feucrall fafhion of 
Singing.Ncithcr doe they obferuethe Statutes, and precepts of their fore- 
fathers, but cucry one fings Pfalmes, and other things cucn as they lift. 
Whcrcvpon there is fuch difcenrionerowne in the Church,fuchdilcbrd, 
filch coniufion,that fcarcc two fing after one manner .This doth Pontifex in 
che 22 . chapter ofhis Mufickc,vcry much reprehend, and furely with good 
reafon, faying : Seeing that one God is delighted with one baptifme,onc 
faith,and the vnity of manners, who may think but that he is gricuouflyo£ 
fended with this multiplicity of Songs? Whcrforc I had dcliuercd ccrtaine 
Rules of the true order of finging, vnlcflc I had found them both copioufly 
and learnedly written by maifter Michael CalUcub de Mutts jl moft learned 
man.Whercforc I fend all that are defirous to be inftru<ftcd in this point to 
him,oncly mcdling with thofc things which belong to the tuning of pfalmcs. ' 



Eutes fit the tuning of Pfalmes. 
T^Irft, All the greater Pfalmcs arc to be tuned with a fifing, the lefler 
■*»' without a rifing. 

2 The indeclinable words,the Hebrew, and Barbarous, are to be pro- 
nounced in the middle accent high. 

3 The tuning of the lefler Pfalmcs of the firft 7W is thus out oUUmite^ 
and out of Ffiutfhc tuning of the greater thus: 







Laudatc pueri do laudatc nomen domjni : nwmaito do. Dj. M j^mfirat anmu iiu-a donunum, 

Tlic melodic of vcrfes in Rcfponforics, is framed by later Mufiiiaiis at 
their plcafurc . but of entrances die manner is as yet imiiolably kcpt,accor- 
ding to die decrees of the AncientSjin tliis manner. 

The 



Qap.n. f the Tones in fpecialL 31 

— ■'■' ' ' " * " 1 1 1 1- ■ ■ ■■ 1 1 ■ . — ^ 

The Melodic of the Verfes in the tnfaercs ofthefirji Tone. 



The Melod) in the beginnings of the Verfes of the fir ft Tone. 



Ofthefeeond Tone. 
np He fecond Tone 9 (2s Saint Bernard faith)is a Rule determining the ?l+ 
* ^//ofthcfirftfalbion. Or it is aplagall ProgrcfTion of. the firit. Now a 
flagdl Progrcflion is a defcending beyond the / snail to a Fift, or at Icaft a 
fourth*His beginnings (according toG*/^)arc^.C.D./\&G.3cdoth right- 
ly poflcflc the cxtrcames of the eight Aitthenticke^ becaufe the fouldier by 
law of Armes,doth dwell in 1 the Tents of his captaincTheJmanner of thefc- 
condTV/^isthus: 



Cap. t'cudizdn't. Mifcraror do mi nus. Hunc muntiu (pcrncs. 

The tuning of the fmaller Pfalmcs is thus out of Ffiut; the tuning of the 
greater out of Cfjttt, thus : 

Laiul.uc picri Jo. buJitc notnc Jo- Mjrnc:::o coco, Mjgni&ar *uuou mca <ictrinuhu 

T^ Melodic q( the Z/erfcs in theunpperes of the fecond Tone* 



%P ^*+f»frt* £*1& fi: 



The ALIjuk in the bcJM*ih*i of il* per Us of the fatnd Tone* 



Of the third Tone. 
npl Ic third tone^ is a Rule determining the Juthenticalloixhc fecond ma* 
* nci .Or it i> the j*/,W/tt/pi\>gtcfli6oi the fecodjhauingthe final place 

K 2 regular 



yi Of the Tones infpeciall . Lib a . 

regular in ELtmt : His beginnings(accordingto GuiAo) arc JE.F.G. &c. The 
chide forme whereof, is this : 

Capiralc ccrtij. O gloriofum. I -aiHis «iirtillai»K 

The tuning ojthe lefer Pfdmes cnt </ Cfolfaut, and ef the greater out 
ofColrcutytitbv: 






LatUiJtc purnJo l.mdau nomen do; Mmicr.to do D.a. M.ignif;cu.inim,iirtca. 
TheMeiod'uoftbe Verfrs in tbeanfrreres bfthe third Tone. 
The Melodic in the beginnings cfthe J'erfes of the third Terse. 



Of the Fourth Tone. 

*T* He Fourth Tone (as witnefleth Bernard) is a Rule determining thcpla- 
-* gdl of the fecond manner Or it is a Progrcflion of the Cccond pkgdllj 
holding the fame end that his Authenticke dorh. It hath fixe bcginnings,C. 
D JE./".G.and ^ whofc principal! tcnour is this,as it fbllowcth : 



£*& 



»l,*frMflw , afcpg 



Cajiiaicqiurti Toia }4U.ua u Hare til dies. 

Thetuning of the (mailer Pfalmes out of alar/tire , and the greater out of 
flami; is thus : 



JLaudate piK' i dommv 9 hud*Lc no»ne donum. Memento do. Da Magnificat animi men donunu. 

- - 



***4*p u Hp* fl+^+f^uifr fc 



1 ht i4tlodte ofiheytrftsin the trtfivtra of the fourth Tone. 

ihe 



£a(>.n. OfthcTonesmfpeciall. 33 



Hj*<*Hf-Y*t*+**+7*f£i: 



7 he Mtloritr tntfo l>tnme Offices of 'the Vet fes of the Fourth 7 one. 

Of thrift Tone. ' "— - 

TI k fift Tone is a Rulc/I crcnTuning the Auther.tiue of the d*ir<! manner, 
or k js an A tithe* wall Progreffion of the third- Whofc rcgnbr end i* 
in //s/:/ > and irregular end in cy*^*/. The beginnings oiix^CrrvAint* 
witi icjlith)i:c Foure^ /".G\^ and r. whofc chictc forrnc is this : 

-* r I f »» -*+— ■ 



C a it I- r^'.ir.tf. GmJe Dcx crr.vrri*. Cm di a. 

'I lie tuning of thcfmallcrPfalmcs out ofcfolfiut^nd of die greater out 
of //jc/, is in this fort. 

Latere pucri dox.inum. Mem* ntodo. Di Mag inirnn tv a (ionuhum. 

^ ^4 . , 

The Melciy of the Virfes in the snfaeres of the Fift Tone. 

5^ — ' 

7 he manner ui the le^nnin^s of the Verjes of the Fift Tone. 



Of the Srst Tone. 
~T* He Six t T''k is a Uu!cj determining a 'fkldl of the third fort. Or ic is 
* the p/^I'Progrcilkni of the third .participating iuilly with his Authen- 
t'u.dlxw the ttnali Notes.lt> ^honutaccfofali^ 

and jjlaithf>j^i:&«;^ln the i> chapter of WsPrriff/cli and Gutdo in his 
iloctriiiill Dialogue. The diidcfouucof it is.thi&jL .. 



~»+ 



The Uiuiii:* of the lyfler Ffalmes \s\io^Lihure x and greater out o(Ffdut y 
h ihU : 



* * -- *■« ^ ■■»- F !■- T3 "1» ^ J ^¥» •«■« V »■-«■» .»» -jr» «.■ 



34- 



Oftbc Tones mfpecialL 



Ltt?A. 



fe* 




vr?frir^P^5& 



Laudate pxu dotn. laudatc nomcji do. Mc. dom. Da. Magnificat anim.1 nua dotn. 

The Mclodu of the Verfis in the /wfwercs eft he Sixt Tone. 



ffi*+r'f'V'"k sj^f 



The Melody in the becinninj^s of the Vcrfes of the Sixt Toni. 



Of the Seventh Tone. 

THe Seucnth Tone is a Rule determining the Authenticke oh\\c fourth 
foruOr it is the authenticdl Progrcflion of die Fourth.lt hath his end in 
Cfolreut regular only.To this belongs fiucbcginrings J x;/^.G^.L"i^.&^.The 
chicfc forme of it^is this : 

Capitate fcptimi. Ezortimi eft. Clamanerum. 

. The tuning of the lefler Pfalmcs out of Dhfolre y and of the greater out 
oft/it]«r,isthus: 



^♦/♦44^n n J^»/ttMfLp»/tf»f» M ^ 



^♦♦^♦»7] 



Laudate pucri com laudate nomen dono. Memento <io.J)a. Magnificat aniinu moadom. 




The UeUiu of the Vcrfes in the &nfaeres of the Seucnth Tone. 




*9+**^*= 



The Meloduinthe begivnMgsofthe per/is of the Seucnth lone* 



of 



Qay.n. Of the Tones infpeciall. 35 

OftheE/ofoTone. 

•" p 1 f fc tight 7iwf 1$ a Rule determining the pbtjllof the fourth fcrr.Or 

* it is the /7.?£i// Progrcffion of the fourth, po&ifing the fame end that 

his AntUfiitn'te cloth The beginnings of it arc D. F. G.j. and c. The chiefs 

forme ofit,is this following : 



^=£ii4^f-fi i»i u i\ * i , 



O/Kaleoch:::. Dum ortiw. J«ft* conhubuntur. 



Tlictuning of thc!eflcrPfa!me$ out of cfjlftnt^ aad of the greater ouc 
oSCfolrcnty is thus : 

Lxtdacc pucn dom:nuj Laudice nomc io. Memento do.Dx. Mj^mtkat wirrttmeadorxu 

7&* Me'cli' of the xtrfes in tht mfxeres of the Eight Tone. 



■ppv'-wirf 



*H* 



7 he 2'Ubix in thcbeg:nn;n^s of tht vcrfes ofthe&gbtTont. 



Of?hejlrjn*e Tone. 

HP Her* ^ anochec '7Vw/*hkh many call the ?< r t°rjnt y crfeange r<?*^ 
* not that it is of iLangc Notes, but due it is very icldcmc vfed in our 
I Iannoay* Fot his Tenor :s hoc fong co any buc to one JnnplwnCj iVJv ^/ii 
viwni+> &*c. and to two lYajncs, >> r.vi/» cp*. and 3cncai*itc. His end is in 
the ftiull Note v>f thj Sviicnch ^/^ x> ?r.woj*nsu 'dctncialraies ic» The 
Tcnour of it foiloAotK: 



- — * l M ' h 



Pcu v> • :» "i : •• u*. l«i cv:u Uric! Jc -E^v.uomus latob Jcpyp.b^b-ii*. 

La Taa 



*4 TheThirtibnthChapter, 

That diutrs men ayc delisted rrith diners Mcodxs. 



\fc.'>y£.AVcrv mans palate is not delighted with the lame mcatc(as Pott. 
V S>vi SKlltcs ' n r ^ c tf^h. of bis Muhck.)but Ionic delight in lli^i phonic 
^ ^ ^H » n ^ wcct mcatcs: neither are all mens circs delighted with the 



i»a»fe--3 famclounds :Joi lomcarc delighted with the crabbed Sciouuly 
wandringofthclIri^/w.Othcis doaftcwtthc houfc granitic otthclcLond: 
others takcplcafurc in the iaierc^ as ^^ 
od^cr* arc dra-vn with the flatting lound of the fourth.oi hns a i c moncd with 



the modcflw antonncs of the fift : others arc led with the lai ncnt ing voyce of 
die hxt ; others do willingly hcarc the warlike leadings oi the fcucnth:othci i 




Joiirs,thcfmcllingpo\vcr,\vithd^ 

of meats AVhcrtorc let a Mufitian diligently obfcuic that he difpolc his fong 
in that7<w 5 whcrcinhc knows his auditors aicmoil delighted. As if he will 
compofcafongat the rcqucftof yong mm Jet it bcyouthfull and frolickcjlf 
arrhcrcqucft oT old mcn 3 lct it be tcfty 5 and full of fcucrcncs.For as a writer of 
Comedics 3 if he giuc thepart of a yong man vnto an old manner tlic part of 
of a wanton felk>w to a coucrous perfon 3 is laughed to fcorncrfo is a finger if 
he bring in a dauncing merry moodcjwhcnoccafion requires fadncs/n* a (ad 
cncAvhcn it requires mirtLNow by what means that may be pcrformedjthc 




and enfiameth fury. The tcluin doth appcafc the tempefts of the mindc^nd 
trhtn it hath appeafed them Juls them aflcepc.The Lydixn doth fharpen the 
CiiiTlHt dullyS; d 3th rna\c Lhem that arc burdened w ith earthly defires, to 
oetife heauciy things ,an cxccllcr worker of good things. Yet doth Plato lib.^. 
flV/.^-.mach reprehend the Zr^/^both bccai.fcitis mournful ,andalfobc- 
caufcitiswornanifn.Burhcalloweth of the Dcrir.* Jboii\ becaufc it is manly, 
'Sialfo rioti: delight valiant mentis adifcoucrcrofwarlikemattcrs.Butour 
men of a more refined time do vfcfbmtimcthc/'tfr/Vwjfbiiitimc the Phrygi^ 
fli»jfonictinrcthc£>.''tf#i^^ 

cordingto diucisoccafionsdicy ctrcto choofc diucrs MooJcs.kwA that not 
without oiufcrforcucry habit of the mind isgoucnicdbyfbngs,(as Macro!*. 
vvritethjfor fongs n take n jen flccpy^and w -a^.cfull^carcfu!I J &:!i)errie l angrV)& 
rocrcifuliJong^dohcalcdifcafcs^xproducx diners wonderful dfciHfahfiith 
fruit. /V/r*r.) mouing fomc to vain mirth/ometoadcuout & holy. «:»y, yea 
ofiumt^ to godly tcaics.Ofa! which I lad 1 athcr Le (ilcnt^han to dc fc-i mine 
ari\ thingrafnlyrkailldo buixhcn the wits of children with ynpioliuhLit 
i^ccctfury precept s.bccaiifc who(o in expounding any thing doth pom-eon 
4itoc*ciiauuuu:dfuI^ixi^ 

ner,as Mcxrobiu* faitli in the lecond bookc vpon the drcainc ol Scifh. I 'hei - 
fore let learner (ludydiolcfow pi cccpts^ becaufc they arcnci.dIJ»y Ku i\\z 
vndufUi idii i^of d ut wl ud ) followes. 

ifaicti.LiLlltl.ijl /•=■■/-. 




\ 37 

TO THE WORTHY HIS 

kindc friend (Jcorge "Brachitti^ moft fki!fiilIMu> 

(itian,and chicfc Doctor of the Duke of Wittenberg his Chappcil: 

' Anrl**M Ormth*p*Ychu cf rJV'ejmri, 'WilheiU health. 

v£_t*£_*v^ Hen I h*d throughly ruminated of thatfyrno of Pbtn y 
7Ai/ b?^ nvr* ;**/ made for ourfeiue:^ but to doe opod to 
our C ountrey, and friends ^ J ''#<*< euen out of heart, my 
mojl reflected friend) euen as if my porters had fay led 
mc^ni xfcneftroken Kith amaiemr-t.And'is t f :st frj 
Monarch oftheZtmane iMpcrejthenhe prjl few Alex- 
anders/?//***/ Gxdc^Umented for that he htmfeife had 
don«ncthingwcrthy tkerememl;ray:ce: euenfo Ijjecaufc* 
1 hane done no fuels th ; ng y did euen lament r confuiersng that beauty* pUafures 3 
age y health y and delicacies dec file away, Scd fimam cxrendere facte, hoc vir- 
tutis opus. Wherefore After many hartyf^he shaking heart againe {though I were 
tojfed with many fiouds of Cares ^ many evjls of aduer fuses z and manyjtormescf 
diuers perturbations) yet begin I to thinke what I jvould leaue to pojleritie for 
witneffe that I had Icued.Xowmy f.icnd bc:n-> turned hether and thither, in 
the end Ichofe the learntng of Harmony ^othbecaufe it is ft for mor&edsuati- 
cn,and alfo becaufei: is tbeferuant of Go as praife.f 'or amongfl all Scho&er* Idee 
Arts, (which they commonly cad Lai;er.dT) none x more rnoraU, more pleafant^ 
more diuine^than Mzficke. Whereof although there be many Profe(?ors 3 yethe 
there very few writers (I know not whether it grow out of hatred to the Art \ 
or thtir cwne flothfulnefathit haste delivered tne Art:n a^odforme.Senceis 
it y thjt excepting thofe which are, or hane been in the Chattels of Princes 7 there 
arenehejr xen very few trie MnfitiaasdVhtrupcn the Art it (tifJoih grew in- 
to ccnteinptf:ei?i* hidden like a Candle vnder a bufhelfljcpr.ujUg of the dlmigh- 
ty Creator * fall things de<rea/eth y wd the number of tl of e which fee ke the *uer- 
throw cfthis Art y clbt'y doyly increase throughout ailGe*m.vn. By tin atcafion 
fiirredxfg** further relyitsgzponyaur 'cutlnesjnoit worth Ssr^a great tzjli- 
rwKywLrify^^atieme^whcii I came fu theVmnerjlty otTi{o\'r.£ m &turncJ 
in at iiourp!eafit{sndeeJmoj}p!eafaht!j'ouf^wfjichyu haite jf'<onr ?r:nc s yft) 
lSi>rnedmyp<?:tosh*writi/igofyitnjur.dyi:ifukf;du 

Song. Ani what f.JW<?'< f^eaef other >.:t<;< -iolun.es jad in them^ l.ke a Bee I 
fucked trcw outran J wad' tbx fl-cond 3 h>h the hiue :c !.:y h:w r - 7/.JY*ir .** ! 
L'.wsdj.lx.iCt.l it ih *o.tr ruwfo doc ' ;*tVc»./ it Co !«.•*/* ::/j':ire^ th.-tycu //...? 
loth wend ths!i fat Its yen /?/>.: :n it, :std dttt^i :t **o •->• -'he Out kio^ ^ irvji 
who doe cowcnlv dc?.i//*e ill qsoJ w;j. Fsr - h-Uta^ aft :n-'ge •;[ th.fe c-'-'jfigs 
ivh:;k I :v»i.\\ ido.ftly fujt^lt % ny .Jc Co his Cc,* t u/e . \wi hu wham ulrcj.- 
:%^ c)t*} //;>' j'vnj exptncNie -jai J *i a**.. ^:u^ *u Si..Cuiw dsch .uM.oxleJey* .'/J ! 
allhj : 'hCs::\\\X\\\c doth honour jor j, y^iS ^sr;ghty'*nd '. -' '> dfoan. F*ri. m :>yd y 
'^•/;j } .\a> ,;c ' ^i Lxd) a/*d di'hr,d :fc Ar.Jsdisfrcm 'he Cvj.jjJ Inu:e. 

M Mir 



?8 



Llb.l. 



THE SECOND BOOKE 

of Ornitboparcbus litsMuficke: wherein are 

contained the Rudiments of Mcnfurall Song. 




The First Chapter. 

Of the Profit and Praifc of t his Art. 

Octitu that Romanc, (whole wit in Mufickc no man cuct 
mended, nay,ncucr attained to,in die firft Chapter ofhis 
Mufickc) writes, That there is fuchcfficacic in Harmoni- 
call Confirms, as a man though he would/ cannot want 
thcm.For Mufickc driucth away thofe cares which driuc 
away flccpe,itilleth crying childrcn,mitigatcth the painc 
of thofe which Iabour,rcfrcfhcth wearied bodies, refor- 
mcth appaffionate minds. And eucry liuing foulc is (o oucrcome with Mu- 
ficallfoundsjthat not onely they which are ofthegallantcr fort (asiaithitft* 
crobiin)b\x. cuen all barbarous Nations doevfe Songs, either fuch as ftirrc 
them vp to an ardent embracing of vcrtucj or doc melt them in vnwor- 
thypleafures: and fo arc they pofleflcd with the fweetnefle of Harmony, 
that by Mufickc the Ahrum to warrc is giucn.by Mufickc die Rctraitc is 
foundcd,as if the Note did both ftirrc vp, and after allay that vercuc of for- 
titudcNowofthetwo/hat Mufickc which we call Mcnfurall, doth fpecially 
perform c thefc effc&s.For this (as ifidorut frith) ftirrcth vp not onely men, 
but alfo hearts^ fcrpcnts,birds,and Dolphins with the fwcctncflc of tne har- 
mony. By this did vtfr/0/7prcfcruchimfc!fcin the middle of thefca; by this 
did Amfhion the Dirctan gather together ftoncs for building the Theban 
wallcs. By this did Timothem the Phrygian fo enflame Alexander Magnus y 
die Conquerour of the whole world/hat he rife from the table where he fat, 
and called for his armes; and afterwards changing his Moade on thcln- 
ftrument, didcaufe him to put off his armour, and fit downc a gainc to ban- 
quet. By tliis did Dauid the princely Singer, hclpc Saul i\iq King of lf- 
rael, when he was vexed with an vnclcane Spirit,- by this, not onely the 
great God, the maker of all things, but alfo the furies of the St)»i.w God 
are dclighred^ippeafcd^and mitigatcd.For this is the Lady and MiltrHlc of 
all other Artsjwhichcan delight bodi thofe that be in Plutoes iiirifdution, 
and thole that abode in Aty/jrjfu fields; and thofe that line m /ftfuttsaci- 
hallyhghtfomeManfions.This Ait oncJy,lcauing thecal -tlijlyuh vp bdorc 

the 



C*P*** Ofthcttgurei. 39 

the tribunal! feat of the bighcftludgc? where together with the Jnftrument* 
of the Saints it foundcth, where the Angels and Archangels doe inceflant- 
ly fing I tymnet to God, where the Chcrubins, and Scraphins, cry with a 
continuall voyce//0/y^;/^.Befidcs > r.o Art without Muficke can be per- 
fect : wherefore Pjlhigorai appointed his Schollers they fhouldboth when 
theywenttoreft, and when they awaked vfc Melodies. Bcfides, Muficke 
doth goucrnc and flurpen the manners and fcfhions of rden.For euen Xtre 
whilft he gauchimfelfc to Muficke, was moft gentle, as i>&V4fcitncfleth: 
but when hec lcauingof Muficke, and fet his mindc en the Diabolical! 
Art of Nicromancic,thcn firit began that fierce crucltie of his^then was he 
changed from a Lambc to a Woifcand out of a moft milde prince tran£ 
formed into a moft fauagc bcaft But Icaft I digrcflc too farrc, and Icaft wc 
procccdc from vnknowncbcginningsjwill briefly fct downc what this Mu- 
ficke is. Therefore MenfurJl ;:u(uke is a knowledge of making Songs by fi- 
gures^ hxch arc in forme differ ing,and hauingthc quantity ot Mcoae^tnne^ 
and ProlattomOt it is an Arr>whofe Harmony is effected by the varic^ of 
figures and voyecs. 



The Second Chapter. 




Of the Figures. 

j Hcreforc a Figure is a ccrtaine fignc which reprcfents a voyce, 
f r and filencc. A Voycc, (I fay) becaufc of the kindes of Notes 
t which arc vfcdrSiIcncCjbccaiic of the Rcfts which are of equall 

T ' value with the Notes,and arc meafured with Artificial! Silence 



Ofthenuml:erof the Figures. 
HT He Ancients obfemed oncly Hue Figures , as principal! Figures, 
* and fuch as rccciuc the quantitie of the three Degrees of Muficke: 
Out of which after ages hauc d:aw::e out others for quicknefle fake, accor* 
ding to tliat faying of Oxtd: 

Ex jdsjS jL:is repJiri: xaturajiguriis. 
The bodies of the Figures are of the tonne following. 
A Large is a figurc.whoie length is thrife as much as his breadth, ha- 
iling on the part toward your right hand a (mall tayle, bending vpward,or 
downward, 

A Lc-hg is a Figure,whofc length isr.viie as much as his breadth ,hauing 
fuch a ta\ Ic as the Large hath. 

A Breefri* a Figure,whuhhath a body fou re- fqi:are,and wants acayle* 
A Sembrttfe is a Figure,whivh is round \x\ forme of an cggCjOr(as Fri»- 
criMs faycth) Triangular, 

A Mniwe is a Figure like a Scmoreefe failing a tayle, afcending or dcC 
cending. 

A CroJ\t y is a Figure like a Minime in colour varying. 

M z A 



<fo Of Ligatures. Ltb.i, 

A Suauer is a figure like a Cwfer,hauing a dad] to the right hand-ward, 

A Semquauer is a figure like a Jiuauer which hath two dailies, and thcr- 

by is diftinguifbed from it,as thus ; 



CLarge. 

The Eight Figu- I Lc »& 
rail bodies. * 



i 



Rrtcfe. 
Scmibrccfc. 







There is a ccrtainc Figure, in fliapc like a Minimi > but ioyncd with the 
number of Three, which is called Sefquialterata, becaufc three arc fung 
for two. 

Bcfidcs, a Figure which hath two taylcs,is as if it had nonc^becaufc one 
doth hinder another. 

The Thied Chapter* 

Of Ligatures. 
Hcrcfore a Ligature(zsGajf. writes in the fift chap, ofhisfceond 
Bookc) istheconioyningof fimplc Figures by fit ft rokes. Or 
(according to the ftrokes vpward or downward) it is the depen- 
dence of the principall figures in ftraightneflc,or crookednefle. 

GcnerM Rules for the Ligatures. 
"P Irft^ There arc foure ligablc Notcs^that is a Large p Long>2 Breefe, and a 
*■ Semibreefe. 

2 Eucry ligablc Notc,cxccpt a Large, imy be figured with a two-fold 
body,a fquarc body,and a crooked. 

3 Eucry ligablc Note is to be iudged according to the afcenfion and def- 
ccnfion,cithcr of it felfc,or of the Note following. 

4 Eucry ligablc Note is cither bcgtnning 5 middlc/)r finall. 

5 The Accidents of fimplc Notcs,fay for example, alteration, imperfe- 
ctionpnd the like (as Franchinm witneflcth) arc alio the Accidents of the 
bounden Notes. 




Kulesjor the beginning Notes. 
P* Irft,Eucry Beginning (whether ftraight, or crooked) wanting a tayle, 
* when die fecond Note defcends, is a Ung. 

a Ruery beginning Note without a tayle, if die fecond Note a(ccnd,is 
zBreefe. 

3 Eucry Beginning Note hauing a uile downc ward on the left fide of 
it/s a Breefc. 

4 Finery 



£*P4- ®f Moode,Time,dnd c Prolation. 41 

4 Eucry Initiall^owfocucrfafijionc^hauinga taileon the left fidcrp- 
ward, is a Scmihr rcfe>togcthcr wrth the Note next following} fi> that you 
need not care whether it afcend,or drfcend. 

Rules for the middle Li*tinrtu 

FirrtjEucry Note betwixt the firft and thelafty's called middle. . 
i Encry middle Note howfocucr fhapcd,or placed^is a Breefe. ,., 
3 A Lorn may begin and end a Ligature^but can neucr be in the mid- 
dle of it. 
* 4 A Breefe may be in the beginning, middle, and end of a Ligature 

very fitly* 

5 A Scmibreefe may be in the beginning, middle, and end of a Lig+> 
turei fo that it hauca taflc in the left part vpwarcL 

2hUs for thefinJl Ligatures. 

Flrft^Eucry laft Note that is ftraight,and dcfccnds> a Lcng. 
2 Eucry Finall Note that is ftraight^and afcoiding^s a Breefe. 
3 Eucry crooked Finall whether it alcend or defcend^is a Breefe. 
: 4 A Large whcrcfocucr it is fct, is alwaics a Urge. 

The Examples of thefe Rules arc in the following Tenor fet out* 



^M 



* 



fcg 



Si 



vmg7i 

1 



s 



a. 



Tenor Exercife of Ligatures. 



am^oHrifS/^frW l 



B*fe Exercife. 



B i/i/tfr7H^ 



Of Ligatures. 




§£ 



TO 



PTT 



f 



The FovrthChaptsr. 




He degrees ot NUifKk,by which weknow the value of the principal 
hgures,are three: towit^W/T/w^and /Wj//>*.Ncither doth 
of them deale vpon all N<xe$,butcach onely with cerainc 
* N Notes, 



,mv 



^z Of Moo^CyTime^nd'Vrolatibn. Lib. i. 

Notes that belong to each* As Jt/Wt dealcthwith Largs % and Lints % T$me 
with Breefes > PrtUwnjsiih Semrbreefirt. 

A Mfitdefa Tranchinw faith in thefceond Bookc/4/>. 7. of his Prttf:) is 




blc value. 

he number of^ 

[three, \ i£tef*rfe&,}) mperfiO by 2 4 



Tc wii,br the number of J S W/S is called J S fafia^ndhmii tfo 



Of the Diuifwn if Mood*. ' 

MO^(asit is here rakcn)is two- fold: towit, Tbcgrcatcr^whichis in the 
Largs and Langs y and the lcficr>which is in tlic Longs and Breefes. And 
each of thefc if diuidcd inro the pcrfcS and impcrfc& 

Of the greater Moode. 

THe grcatcrperfed -<VW!r is, when a Z^ contairics in itthrci Lohgst 
or his tbt rseafurhg of three Longs in one Zarg. The figne hereof is a 
pcrfcS circle accompanied with the number of three, thus; C^.Thc grea- 
ter impcrfeais a Z^ 7 cosprehending ink two Longs x which is knoWnc 
ty an imperfect cirde^ioyned to the number of thrce/hus; Cj., ;'; ' 

OfsbeUfferMoode. 
*T* Kc ieacr pcrfeS AfWis iLcrg hauing in it three Breefes. Or it is the 
■** ncdfxngof three Breefes in one Z**g,whofc figne is a perfefl Circle, 
^cca^pamec whh tbe number of 2, thus ,• 02.But the lefler impeded, is a 
Ltv* which is to be rnea Hired onely with two BreefesJlhc figne of this is the 
abiencc c»f che nurr. be: of 2. Or a Semicircle ioyncd to a number of 2.thus j 
C2. 0. as follcm eth : 

p* P? 



o^icsqq.'o*^ ! ^ 



I 



= i< = 1 Ju3 



Of Time. 
00 T*/mf is a £rt r/«r winch oontaincs in it two or three Semilreejes. Or it is 
* Acnxxluringof twoor rhrcciemilreefes in out Breefe. And it is two- 
fold^touir^perftd*: and this is a /frrr/p mcafurcd wiih three Semilrecfes. 
Whofe fi{ji;e is the number of three ioyncd witli a Circle or a Semicircle, 
or a pcrfctt Circle fet without a numbcr^hus i Oj.Cj.O.Thc impcrfeft is, 
wherein a £r/r/r is mcafurcd ondy by two£rjw£j-fl/rJ. Which i> Luowne 
bytlienumberoftwoioynedwjihapcifc^Circlcyor a Scmitirdc,or a Se- 
micircle wid/Ait a nunibcr/iiusi 0a,O. 





C"f^> 



Of the Signal > 



+3 



W, 



pfCrtlttiM., V 

I lercforc VroUtttn is the eft* juall quanticie otSemi&reefes : or it is 
ihcfcttmgof two or three /Minims againft oue Semibretfe.hxi&h is 
twofold, to wit the greater/which is a Semthreefc meafured by rhree Mintms y 
or the comprehending of three Mmtmt in one Semthreefe^ whefe fignc is a 
point ifitJofcd in afignc thus,(?).G)The WJer ProUticn is 2 SimxhrtcfemcZ- 
furcdwitli two Mtmms chicly, vrhofe tfgnc is the aSfcnce of a pri$kc. For 
/>4wA/*/w faith, They carry with them thcim^foJtiiigof th«h£ufc a wticji 
the figncs arc wanting, thfrs: 



SSIII 




-^ . ...1 ..*! . ( J 



Tint? fcrfeil. lmf erf .time. GftJtttr'Trrf. Left PtoUtion. 

There wis oncweH fcen in this Ari/hat made this vndenvritcen Example 
of thefc three dcgrces,rcafonable learnedly and compendioufly for chchclg 
of yong beginners i which (by his fauour> wee wxilnoc chinkc.vnwor- 
thytofctdownchcrc* ... 



QLA»iL-i,au 



^.jjl^rfHjtfg 



r*PW 



Zifc* Tenormin tke U£er £he 1? ffr.tar^m the J7 eater % ?ro/Mton. 

Motdc perfeft. 



■m 









2H&* *3j/i, i« time perfect* 



Th* F xft Chaptbiu 

<?/V;< Signs. 

Hough there be flich d:llrcticn betwixt Muiitxins about the 
S:^rtes,(uch cciituiion of rules and examples, chat cucn to a per- 
fect Mutitiaii they ieemc to breed doubts : io chat i'i»t&rch\ik 
nun furmiTxxi with ail learning faith n du: Booke, whichhec 
tuotcof Mufittali our time,the forme o?viiiierencciuchroi!iuch :nerca- 
fed,and fo fit ic varied from the Cintctnc of our Auncciiocs, qbat toap is 
non\entioa> no precept, no ccrcaincic ot Art itiL Auu uilo «flou§il wc* 
be not to make a dc&mtiue lentence in doubtfull nutters but rather t\* Iteid 
que(\ion:ycc that yc*>gbc£inncrs,which aredcluou* coicariietins An^yay 
not be cither diicomagcdirom pio^ ceding, or muled* !e*tu&$ thoicd&nes 




N z 



Aoicn 



^ OftbeSignes* Ltb.z. 

which morcvnufuall, wcewill briefly (bewthofc things which arc in vfca- 
mongfttliofcMufitians,whonowarein credits : by fccking out that doubt 
of the circle and numbcr,which was amongthc rA«r*rif*j;Thcreforcajfignc 
isa certaine figure fetbefore a Song,which flicweth the Sfoh, Ttme, and 
TreUtm. : . . ..;- • 

• - i < • ' .\ • « „ . . i ' • J ,r . .. . . . 

■ ■ • . ' " <> / ,- 

Of the Viuifwtts of Sgnes. ' " 

OF Sienes fomcbcprihcipalUand feme ldTc principalis Thcprincipall 
are thore.which arc fit for theVnderftandingoi Moodefimfjuid Prol* 
turn And they are two-fold jomtjExtrinfeeatt, and InirinfecMx ExtrinfecM, 
are thofccaHed, which doc outwatdlyprefcnt thcmfelucs;arid flicw thj de- 
grees of Miifide,asA*^,aC/r</^^^ ;•--"* 



Rules for the txtrinfecM Sigies, 



fhewes 
toanum- 



Flrft ACirelcfetaloncby it felfe flicweth time : if it be pcrfe&it 
perfeatirac,if impcrfccymperfearimc. When it is ioyncdto; 
ber.kfignifiestheAft^* ' '• ■■-■• ■ •;_ : • • - 

j hCirtU accompanied with the number ofj.doth reprclcnt the grca* 
terA&^butioynedwithanumberofa.thelefler. .. .. .. • .•:'.• 

2 Whcrcfoeueristhe greater A/Wjthcreistheleflcjbutndtcontranl^ 

4 Thenumbcrofthrceioynedto aCircle,isafigneof theperfea times 
butthenumberoftwo,oftheimp«rfea. *.' . • . . 

5 Apointinclofedin afigncof umenoteth the greater Pntemjtom 

, rPerfet? 7 

> of the greater Mooie\ > of the perfect amd 

> Zlmferfetiy . 

> oftheleflcriUiW* << J>dictimcm»pctfc«; 

OfSignes, 

fotnebe ^ x , . ^ * c-f- >• 

the greater ProUtton < > * ««• 

OmfetfelfJ 

lO o cferfeit 7 

' CTi'me 2 >inthclcflerJ > r*Ai//Mfc 

■ > tunc n c 

j C J CJt»ferfe£tJ 

Butwhenout of the mingling of three principallSignes, towitjof the 
^^^&,and;««/,ther?be diners fignesmade,that I™™?**?*: 
Ifcrhaue the knowledge of than, and cucry figure ?7^^^J 
thought eood in thisformefoUowinetofetdowne aTablc, by which you 
might attoghtiudgofthcvalucoFanyfigure^hoghplaccdinanyfigne. 



C*p-i* 



Of Signes. • 



45 



A Rcjolutoric Tiole, farcing the value of the Sigiesfy the 
leholdwgofeuerj figure. 




T 



Of the Imrtvfcull Sioncs^ 
He IntrinfecM fignes arc thofo^by which the perfection of Muficall de- 
grees in the figures is fhewedjWithcmc the adioyning of any of the £*• 
trwJccAl Signcs. Ot thefc there arc threc,tO wit > 

. i 1 he muention of a reft of three times. For when in a Song, tlierc is 
found a Kelt which toucherh three ipaces,it fignifics the kfle perfect Motde. 
lift touch two,it tlic^eth the greater perfect. For faith Franchinua^ It is not 
vnfit,that two ^efts of three 1 uric* be adioyncd to the greater Stood ej£ one 
be adioyncd to the lefler. 

a The blacking of the Noces. F5r as eft as you £nd three £<w*/coiou- 
red,thc kflcr perfect Msod is iig:iificd.\\ hen tlircc Bretfesfhc perfcdl time. 
When three coloured Stmhretpsjchc greater isolation. 

3 Tlic doubling of ccrtainc Kelts. For as ofr as two Sermbreefe Rcfts arc 
placed with a Semibrecfejftit perfect Time is figujflcd.So by two Minims with 
a -Uw.wc XetCjtbc greater Prolaticn^rhus } 



1 ll^il 



i 



H* 



H^Kg: 



s* 



1L 



**-^ 



The greater 



7be/ejfer 
Moode% 



Time perfect. 



The greater TroUticru 



*f 



4* 



OfTaB. 



Ltb.i. 



Of the UJfe frmcipdll Sigtes. 
HP He Signcs lefle principall are thole, which are not ncccflary for the 
■*- knowledge of A/Wf,77»tf,and PreUtitn.faid thefe arc diucrs,asyou 
may plainely fee in die quadrate following. 



ia 






IS 



"TTT 



^s:±e 



I 



Repetition* Conueni* Concordance Alp if ation.bMolI.Deafoat ion. 
ence. Cardinalis, 

The Sxxf Cha?T£R« 
OfT*(t< 
Hcrcforc Td£l is a (ucccfliuc motion in (inging, dire&ing the c- 
qualitic of the mcafure.Or it is a certaine motion, made by the 
hand of the chiefe finger,according to the nature of the marks, 
which dire&s a Song according to Meafure. 




OfthcDiuifionofTAft. 
HP A& is three-fold, me greater, the Idler, and the proportionate. The 
*- greater is a Meafurcmadcby aflow,andas it were redprocaU motion* 
The writers call this Tatt the wholc,or totall 74ff.And > bccaufcit is the true 
T*£lo£ allSongSjit comprehends in his motion a Semibrcefe not dimini- 
(bed : or a Breefe diminifhed in a duple. 

The lefler Tacljs the halfc of the greater, which they call a % Semiislt. Be- 
caufe itnieafuresby \tmouomSemtbrcef€ y dimintfned in a duple; this is 
allowed of oncly by the vnlcarned. 

The Proportionate is that, whereby three Scmibreefes arc Yttercdagainft 
onc,(as in aTriplc)oragainfttwo,as in a Se/qutahera.O(ihis wcftiallfpcake 
more at large in the Chapter of proportions. 

A RuUforfatt. 
A Scrmhrttfe in all Signcs(cxceptingthc Signcs of Diminution, augmen- 
** tation^ndproportionsjismcafuredbya whole 7*<57,as in the example 
following appearctn: 



ft 



03 


*t 


9 


5 


t 










OS 


Zi 


9 


I 


x 


X 


*s 






CI 


tz 


6 


5 


X 


X 


^ 

X 


^ 


• 


Os 


tz 


<5 


% 


x 




tt 




I 


O 


l* 


6 


T 


X 






fc 


*s 


e 


8 


4 


% 


1 




« 





| 





l% 


6 


T 


I 


X 


\ 




\6 


c 


& 


4 


z 


t 


f 


1 


T 


" 


* 






* 


n 


♦ 


I 


1 


I 


< 


► 



C a P-7> 



Of (Augmentation. 



47 




T^fi SevanthCmaptbr. 

Of Augmentation. 
j Ecaufcin the Chapter before going, we hauemadc mentioaof 
Augmentation and Diminution) therefore Icaft wc proceed from 
vnknownc things, wc will (hew what each is. 

Therefore Augmentation is the making of more Notes in a 
Song : or it is the excrement of fome Note. For in it is put a Mimmt for a 
SemAreefei a Semibreefe for a Breefe} a Breefe for a Z^g. 

Bj what fignesjou (ball know Augmentation. 

OF Augmentation therebc 3-Signes.Thc firft is,thc fewncs of the Notes 
in one part of the Song. 
The fecond is,thc adioyning of the Canon , by faying, Let a Breefe be a 
Large, let a Semibreefe be a Zwgjec zMinime be a Breefe. Or let it incrcafc 
in Vuplo y Triplo,vel hex agio y &c* 

The third is,a point in the Signc of time/ound onely about one part of 
the Song : One I fay, for if it be found about all, it is not a fignc of Aug* 
mentation ,but of the greater f rotation. 

Rules of 'the Augment ion. 
p7 lrR 7 Augmentation is the cdntradi&ionof Diminution. 
* 2 In Augmentation the Minime figure is mcafured with an whole 7W#. 

3 Betwixt Prolation and Augmentation ,thercis this difference. Augment 
tion (bunds one Minime to a7W7> Prolation founds three, that is a perfect 
femtbreefe : which then h meafurcd with a proportionate 7*??. 

4 The Rcfts arc dittf inftbed and atigmentcd,as well as the Notes. 

5 Augmentation muft feldotnc be, but in the Tenor. 

6 A Large is not augmented, becaufc it hath none greater than it felfc, 
whofe value it may afliimc.Thcrcforc they arc in an crrour,which fay there 
arc 8 i.Taits in a large which is fct vndcr fuch a figne ©3 : becaufe a Large 
neither growesto aboue ij.T t \eis y nor admittcth any thing greater than it 
fclfe,bccaufcit is the grcateft, than which there is nothing greater, Befidcs 
as in naturc/b in Art it is ix\ vaine to place a nothing : therefore (houid a 
Large be in vaine augmented, becaufe no Song was eucr found of ib long 
timc,that Si. Tacts might be Sung in an Vnifon. 

7 Augment Mion comprehends vndcr it fclfe all the kinds of Notes ex- 
cepting a Urge) for which point marke the example following 



P>4*%ktf l 





tsfvgmt /tut ion. 



The greater 
P rotation. 



The r Buriron or Safe, 



vndcr 



, II — — — — — " ■ ■ ■ ■ - ■ ■ 

4.8 Of 'Diminution, Ltb.i. 



^ytafft*-/^ 




-yvndcr the fig***} Semukri*. The greater *T rotation. 



What a C ononis. ....... 

BEingwc hauc made mention of a Canon,lczi\ I hold the learner in a 
mammering,! will (hew what a Canon is. 

PiCMen therefore is an inuginaric redrawing that part oftfic Song 
which is notfet downeout of that part, which is fet downc. Or it is a Rule, 
tvhich doth wittily difcoucr die fecrcts of a Song.Now wc vfc Cot**/, cither 
to (hew Art^or tomakefhorter worke,orto try others ciinning,thus j 





The Eight Chapter* 

Of Diminution. 
: Jminutionjxhidi is more truely GkUcdJyncopAiionjs the varying of 
: Notes of the firllauintity ,as miicxhFranJt.i.Pr.it^Or it is a ccr- 
1 tain cutting off of the meafure. For as in Grammcr wc (ay l*cL for 
f&cuUfo in Mufickc we do curtail the naturall and eflentiall mea- 
fureof the Notes by rhisfincopation. Therefore generally it (hall be called 
Jynccpttionpot Diminution jbeczuicit is a kind otjyncopation. 

Of the kinJes of Syncopations. 

r\ F this there be two kindes ,• ScmiditUfxiA Diminution. Semidittc is the 
^■^ middle of the chiefc meafure of Notes, which can be placed onelyin 
animpcrfe£ltimc,which hath thcfcSigncs,Oa.C2. <£.£.<£• 

For in all thefe, the halfe of the meafure is put oftby the da(h properly, 
and by the number, for fo much as it ludi of Duple proportion. Therefore 
frafmus Lapidda doth well in placing one number vndcr another in all thefc 
fignesjthusjOx.Cv 

For proportion is the relation of two quantiucs^not of one, as clfcwhcrc 
tve will more largely fhew. 



Of Diminution. 
r\ Jminution(2s the Ancients thought)is the taking away of the durd part 
~; from the meafurc.Butthe opinion of the Moderncs,is more true and 
laudable, which make no difference betwixt Diminution and Semttbsit y 2s 
Tim: TtncIoru } of all that cucr excelled in MuficU the mofi excellent 



water, 



Qap&. Of 'Diminution. 40 

writcr^and Frwcbwus Gaffer us UbsiXApA*\, haue pofitiuc'y let downc. 

Therefore riminuticn is the cutting otf of the halfc part in the mcafure 3 
nothinr diflrcringfrom/^;/^//;^ but that it is found in perfect Signcs, and 
in figures which arc to be meafuredby the number of j # \\ hcrctorc I can- 
not but fcornc certainc Componifts (forfo they will be called) though in* 
deed they be the Monftcrs of MufickcJ who though they know nor fomivcf* 
as the firft Elements of the Art^yctprodaimcthemfclucs/rhc sVapt^Ks or 
Mtt[itians> being ignorant in all things^ct bragging or all things, and doc 
(by their fooliih toyes which contraric to the maieihe of the Art/bcy 'haut; 
gotten an habitcof,rathcr by vfc,than wirjdifgraccxorriip^and debakthis 
Art,whichwasin many ages before honourcd^nd vied by many molilcar- 
ncd,(and to vfe SZuwtithns words)moft vvifc men : vfing any Signes ac their 
plcafure, neither reckoningef valuc^nor mcafure, fceking rather to plcafe 
theearcsofthcfoolifhwiththcflvcctneflcofthc Dicry,than to fatisric the 
iudgement of the learned with the maicftic of the Art. Such a one know J y 
thatis now hiredtobcOrganiftinthcCaftlc at Proof .who though he know 
not(that I may conccalehis greater faults)how todiihnguifh a pcrfcit time 
from an impcrfc£ 3 yctgiucs out publikcly.that he is writing the very depth 
of Mufick:and is not afhamed to byjhitFrMchmiufa molt famous writer; 
one whom he ncucr fo much as tafted ofjisnot worth thcrcading,butficto 
befcoffcdat^Scfcorncd by him. Foolirtibragging/idicuJousrafHncs.groflfe 
madnes^hich thcrforc only dorhfharlcat the Iearncd,bccaufc it knows noc 
the means how to emulate it.I pray God^thc Wolfe may fal into the Toiles, 
and hereafter commit nomorcfuch outragc;nor like the Crow brag cf bor- 
rowed fcathcrs.For he muft needs be counted a Dotard jthatprefenbes that 
to others, the Elements whereof himfclfe ncucr yet faw. As Phcrmio the 
Grccke Orator (in TuBies fecond Eookc^r 0/M/.)who hauing before Antio- 
chus the King of Afu^ (in thepreferec oiHinibil) made a long Oration or 
thedttticof a Gcnenll, when as hec himfclfe had ncucr iecne Campc, not 
armcs,and had made all the reft to admire him,tn the end H*mh dl being a(- 
kcd,what his Judgement was of this Philofbpherjiis oniwerc was, That hee 
had fecne many doting o!dmcn 3 but ncucr any man thit doted more, than 
Fhorwto. Now cornel to the matter, and Icauc thclc vnlearr.cd ridiculous 
¥borpn>fsj\\2ny whereof (the more is the fhamc)hauc violently inuaded die 
art of A/*/ir/t,as thofe which arc not compounders of Harmonics ; but rather 
corruptors ^children of the furicsjather than ofrheMufcs not worthy of the 
leaft grace 1 may doc them.For their Songs are rulict!!ous,nGt grounded on 
• the Principles of the Art,though perhaps true inotujh. lor the Arnit doth 
not grace the Art,butthe Art graccth the Artiit. Therefore a Componift 
doth not grace Muficke, but contrarily: for there be that can make true 
Songs not by Art,but by Cuftome,as hauing happily lined amongli iiniiers 
all their life- time: yet do they not vnderftand what they haue made, know- 
ing that fuch a thing is, but not what it is. To whom the word our Sauiour 
v led on the Cioflcvnay be well n fed; Father pir den iwmjhty kww net vhdt 

P they 



5o 



Of T>imimution. 



Ltb.i. 



they ^r.YYhcrforc allow of noComponifts^buttliofc^whoarc by Artwor- 
thy to be allowed ofrnow fuch 2vc Joan.Okeken } Ioan: TinttorU^boyfetJ/erbo- 
net 3 A lex: Agricolajacobus Obre(ht y hfquin y Pctrus de Larue y HemifaackJIeni 
Fincky Am: Brummcl y Mat: Pipilare y Ceor: Brack, Era/ma* Lapiada, Co/far 
Czepfohradus Reyn y and thclikc : whofc Compofitions one may fee doc 
flow from the very founcainc of Art.But leaft by laughing at chefc fcllowcs 
we grow angry , and by being angry grow to hate diem, let vs cucn let them 
alone 9 and rcturnc to Diminution \ 

Whereof wc will rcfoluc with Franchinus and Tin ff or y i\\2X it takcth not 
away a third partes die Ancients thought,(for it is hard finding out that) , , 
but one part: for as diis fignc(£^s die Duple ofdiisfigncC. ibis this(J> of* 
this O. YVhcrforc cucn approucd Componifts doc crre, becaufc they mark 
not diat there is a double Progrcffion ot mcafurc in a perfeft Circle diuided 
tvith'a dafh,befidcs the Temarie number of the figures, becaufe they arc of 
apcrfe&timc : (mgingonc Semibreefe toaTdtf, when dicy fbould fing^. 
For in that fignc the Song is (oto bcplaccd,diat keeping thcperfc&ion of 
the Ternarie, it may rccciuc the Clofcs, and end in a Binarie mcafurc For in 
this Signc<J). die Notes keepe the fame value, which they hauc in this O, 
but the mcafurc oncly, is to be mcafurcd by the Binarie number,thifc : 

A Table for theTaff of Diminution. 



% 


6 


3 


9 


X 


va 




• 


• 





6 


3 


V 


X 


<^?-> 


1 






O* 


6 


5 


X 


X 


i 








£ 


4 


z 


I 


X 


o 

%— 




5 


one 


<t 


4 


z 


X 


X 




o 




ti 


a 


4 


% 


I 


X 


1 


"OO" 

r 




T 




R 


1 


a 





1 


i 


* 


1 



Bj whatfignes Diminution is marked. 

NOw Diminution is marked by three wayes, to wit : By aCVuwr, by a 
Number faid by a Daflj&y a Canon fzy ing ; It decrcafedi in DuplofCrt- 
ployind J&adruple fii\d(uchhkc. 

By a Number Jlqz cucry number adioyned to a Cirdc,or a Scmicirdc,bc- 
fidcs that which cflcnually it betokens, doth alio diminifb according to the 
naming of his figure As the number of arcing placed with a whole Circle 
befides the time, which it betokens to be imperfefl, doth alfbfignifica du- 
ple Diminution , the number of three a Triple, die number of fburc a Qua* 
druplc/indfo forth. 

x By 



V 



C*P-9- OfRefis. 51 

By a Dafb, to wit, when by a Dajb } the fignc of Timeis diuided, thusj (p . 

<£•('%£- 

/ftt/r; of Syncopation. 

|7 Irft, Syncopation bclongcth to the mcafure of Time, not to the figures 
* thcmfclues. 

2 Syncopation doth refpedt both the Notes, and the R efts* 

3 Syncopation doth not take away the value, but the meafurc of the 
Notes. 

4 The number doth not diminifh ProUtion Jbccaufc it cannot work vp- 
pon the pride, whilft a Circle doth kcepe it. 

5 betwixt Diminution and Semidttie^ there is no difference of 7^7, cr 
Mtafurejout oncly of nature. 

£ Diminution is the contradiction of Augmen:ation. 

7 It is not inconucnicntjthat to the fame Signc there may belong a dou- 
ble Diminution fo wit, 4 virguUr 2nd numerall ^hut > <£i. 

8 PJrguUr Syncopation is much vfed, Xumerdl fcldome, Canonic A moil 
fcldomc : the Example therefore following is of the firft, and the fecood. 



?=lfl§llilf;i3iif^ 



The Rule of Senndv.u in Diminuttcn. 



^^^£fttfo ^+.f 3 i^ 



SjJicctitien by number. 



The Ninth Chafts^. 

Of Reft. 




to wit; EU^ntiallv Iud;cial!\* and bo:h waves. E&nci-Cv ,whcn they bco 
ken filcncc.Iudiciiliv, when chev betc^cn no* alence bu: th< rcrtecx jS*i* : 
and then their place is before the v.grx cf Tir.:c. Boch w.-es, %bo 
they reprcfen: both. 



R*!*jf?r tie Rtjj. 

F'lru, There be is many kinds of se t is y is ot Nrccs. 
2 The £r?, which touchcdi ill the fcueo^ gcr-er^LU where a£ £c 
v^wes ccifc together , and ♦< %y.:cl\ :o be p!a jed ::: :hc end. 

' r : . ? ^ 



51 OfTricJtps. Lthi. 

3 The red which rakes vp three fpaccs, is called of the Mccic y which it 
bcrokcns ? and js robe placed oncly in a pcrfctf Moode. 

q A A r/?, which doth conclude two (paces, is called an imperfect Long. 

5 A £*/?, which takes vp but- one fpacc*is a fl/v^r betokening one Tunc*. 
whether perfefl or imperfeft. 

6 A AW? 5 dcfccndingfrom the line to the middle of the fpace,is callcJ 
aSemibrrefe. 

7 A Ar/? ? afccnding from the line to the middle of the (pace, betokens 
a Mmimcfn a iigh. 

S A Pef> like a ftgh^bcing forked to the right hand-ward, betokens a 
Crochet. 

c The £<r/?/ of the wo laft figurcs : bccaufc of their too much (wiftnefle, 
arc not in vfe among Mufitians. 



jjfil 'n'll >' ill J 



; ic jl " 'I. 1! if "n 



TT- 

tt — nr 



*< I » it 



i 



T^f/?/ Lat^. Lonr. Xrtefe. Srmi* Minim. Crcckt 9 
general. faerfe. 

Tv.i Ti nth Chapter. 

OfPritkes. V. 

WHcrefore a Pricke is a ceruinc indiuifiblc quantity, a 'dedtothe 
NoicSjCkhcr for Diutfonpt for Augment Ation^ox for Certainty fake. 
Or his s certahe Si^neldlcr thin any other accidentally fct either before, 
or after, or bciweenc Notes. 

Of the Dmfwnef a Pricke. 
r\ Yt of chis Definition^ there are coUcftcd three kindes of Frickes, to 
^^ wit. That of Addition 3 and that is the Augmentation of the figures. Or 
jt ii> dicpcrfcducin of imperfect Notes.This is fct in the middle on the right 
fioc/«t r id is found ondy in iroperfeft Signcs,and doth augment the Notes 
to which it is added^thc halfcof his ownc value, as in the Example follow- 
iogappcarcth. 



Tenor feint of Addttitn. The jufeit thtftmt* 



— 




&M 






Qap.\o. Of 'Prices. 33 

Of the Pri(keofI>SH?fion. 

THc Pricke of Diuifion is the difioyning of wo Note*, neither raking 
away hor adding any thin^butdiftinguifhing twoNotcs by reckoning 
the firft With the former, & the fecond with the following Notes,to:hc end 
that thcTernar/e perfection in Notes may bchad.Hcrcthc JV/r** in perfect 
dcgrccs > is ioyncd not to perfect figures, but to their neerc parts, neither is 
adioynedto the middlcof the fide,astharof Ad. iticr.,butl little higher, 
or lower about the middle of the Notes^vhich it diuides,thus: 

The Ptirke •f'Diuifitnin thejentr. tsflfointkcTiAfe* 

Of the Pricke of Alteration. 

THe Pricke of Alter atton^:y% obferued more by the Ancients, than the 
later Mufitians. Yet leaftitmay breed fbme doubt to the Singcr,thac 
(hall light on it by chancers not amiflc to fpcakcfbmcvhat of it. Thcrfbre 
the Pricke cti alteration is the repeating of Notes, which doth accidentally 
befall thcm,not as they arc pcrfc£,butas their parts neighboring thepcr- 
fc&Now is i: fct neither on the one {Idc, nor vpward, nor downc-wardjbur 
dirtily oucr thcNote^Iiich it aitcrs^as in this Example appcarcth. 

H'V- .«'*'**£ ftc*«'i / V = ^a,'. 

The Pricke 'fjluruthn in the Tenor. Alfo *n the 3*;e* 

There arc befides chcfc,nvo other fcinccs of Pri* Iter^o wit 3 of perfection. 
And thi^isaPriar fctakeraptrfcctNcte > neither increaiin^ noc dimini- 
shing it^bu: onely preferuing it from being iinpcrfcclcd by the following 
Nocc.lt is fee as the Prxkeot Addition, but diitcrs from :t 5 becaufc it is ai- 
\vaycs,and onely placed about pcrfeft Notes, 

There is another Prkke ofTrznij>orution y adicyned coNctej, whichic 
doth tranllate to be reckoned with figures remooucd further otf: and this 
doth direct his force not vpon the precedent Notes, but onely vpon the 
following oncs,thus; 




--*- 



•#*s^*te 






Aijt 



54 Of fmperfeBion. Ltb.ii 



Alf* in the B*fc. 



ThI ELEVlNTMCllAPtBR. 

OflmPcrfeftion. 
HcxdoxtlmpcrfcSitn is the degrading of pcrfofl Notes, For to 
impcrfc^ is to make a pcrfe3 Note impcrfc& Or it is this, to 
bring it from his value 




of tret- fold Imperfection. 

Imperfection is two-fold : to wit,r*/4fi,whcn prccifcly chc third part of the 
valucis taken from the Notes : as when in pcrfc& time a Brecfe is impcr- 
fcAcd by a Semtbrcefc.Oi partially hen not prccifcly the third part, but z 
idle than that, fay a fixtpart,orfo,is taken from the Notes: as when a long 
of the impcrfcS Moode fcui in the perfefl time, where it is valued at two 
Brcefes, is impcrfc<acd by a Semibrecfe,in regard of the Breefc in it contai- 
ned : and as a Breefc by a Minimc in the greater PriUtion. 

Bj what Signes Imperfection u knowne. 

OF Imperfection there be three Signcs,(as writcth Franchises Gx.Prdtt 4 
cap.u.)zo wit,numcrall /^r/r^7/^,punauaUPw^,and//i/»^of 
thcNoics. 



Bules of Imperfection. 

FIrft, There is fourc Notes which may be impcrfctfed, to wit, a Larg, a 
Z*»g, a Breefc^ a Semibrcefe. 

2 Eucry figurc^which may be imperfc&cd, is alway tobe confidcred in 
the number ot liis pcrfc& quantities 

3 That wliich is once impcrfcfl,cannot be more imperfectcd. 

4 Euery figure that may be imperfectcd, is greater than the impcrfec- 
ting 6gurc 

5 Imperfection is madenot oncly by the nccrc parts of the Notes, but 
alfo by the rcmoued pans. As a pci fc& Breefe can be imperfectcd ,not one* 
hy by a iV*^r^,whichis the neerc part ,but alfo oftwo JUMMU/whfch arc 
remote parts otit. 

6 Two nciglibouring parts of one perfect figure doe not imperfcA it, 
but oncly one : although wo rcmoued ones may doe the fame.Whcrctorc 
if you findc two Semtbreefe Reds after a perfect Breefc jt Hull remainc per- 
fect, viilcflc punauall Diuifion come bctwccnc. 

7 Euery 



I ■ 

Qay.w. Offmpcr/eflion. jj 

7 Eucrylcflc fignrcbcing fuperfoiomdothimperfe£ the greater going 
bcforc>not the following one : vnleffe it happen by reafon of the Prteke of 
luitifion^ rerjetftonpx Tranfportttien. 

8 A Note of one fort comming before his lilceis notirrlpcrfa3ed,vrher- 
by encry figure that is tobc imperfeoed^muftbe pucbeforea figurcthat 
is greater j or lefle th an it felfe. 

9 The erea ter Note doth not imperfc& the lefl^nor an eoua U Note » 
other cquafi Note, '"'■_" 

i o The figure w hich doth imperfect another frgure^es lomuch from 
it^as it felfe is valued au — .— '-~ . : . .. 

ii A Reft is not impcrfectcd, but doth imperfect- * 

i a A Ligature doth ncucr imperfcct,but is imperfected. 

13 A Larg doth nothing, but fufferet h onely in Imperfection. 

14 A Minimc doth^and neuer fuffcreth in Imperfection. 

15 A Long fir 'eeftySLnd Sembreefe doe impcrfccr.and are imperfefied* 

1 6 Eucry Imperfection is cither before or bchinde: Before, aswhen the 
impcrfcaing Note doth goe before the Note that is imperfecred: Behind, 
as when it follow cth.Thcrc be that thinke it is caufed both wayes in partial! 
Imperfection. 

17 That Imperfection ^whidi is caufed before and bchind^is caufed aoc 
by the ncighbouring,but by the remote parts* 

18 All Imperfection rs caufed either by the Note, the Reft, or theco- 
lour.Bv the Note,to wit, when a figure of a Idler kind is placed before cr 
after a perfect Note, and (b imperfects k, thus : 

Tenor. Bafe. 

By a Rejt y to wit, when a Reft ot a Icflc kind is found before or after a 
perfect Note : but the R eft cannot be impcricctcdjas thus ; 

Tenor. 
Bffi. 



5* 



Offmpcrfeflion. 



JLtb.L 



By Colour : * hen t»> die perfect figures you funic Colour, the Notci are 
Impcifcct i becaufctiieir third part is taken away, thus : 



m 



fo^gg 



^ 



m 



Tcvtr. 



**±*^£Ur, 



** 



IS 



R*Jf*s and his Fcftiton. 



w 



OfCobur. 
\A7 Hcrforc Cebur in this place is nothing,but die fulnes of the Notes : 

■ * Oijx is the blacking of the principalTtigures : the force whereof is 
fuch, chat it takes atvay the third part of the value from figures placed in 
their perfect quantitic: and from imperfeas fomctimc it takes away the 
fourth part, (ometimes itmakes them of the Hcmioh proportion* Where- 
fore I thought good to place here a Table of the perfect figures coloured. 
V\ herein note this, that the voidc fpaces doc (hew that that figure, oucr 
*hich they arc placcd^snot to be coloured in that figncBut the Spberical 
figurefwhich the learned call the figure of nothing)declarcs that tl)e figures 
tnay be coloured, yet that they hauc not the value of one Toff. 

Cclcur being in other figures cflcntiall, induce no accidcntall quantity 
into Notes* 



05 


18 


6 


2 





O 


o* 


IS 


6 


% 


t 




QZ 


8 


4 


Z 





O 


02 


4 


Z 


I 






O 


8 


4 


z 


O 





X 


4 


z 


I 


O 








8 


4 


z 


I 







4 


z 


1 


O 


1 




W 


fl. 


M 


♦ 


I 



Qap.n. Of dA Iteration. tf 

Colour is oftentimes found among moft of the lcarnedft, neither ro 
talec away nor to addc any thing; but fpecialty , when to remouc Altersti**> 
it is pfcctd in tht neighbouring parts of per \c£k figures .rhtfs : 





7w#r. Baft. 

Moft commonly the Colour doth cauft a Duple proportion in the imper- 
fect figures, fa FranebiKtH faith, l&.i.cap.ii.) which Hntry jfuclc in a cer- 
tainc /*&/#** of the A&oft!cs> did thus both witcilv^and truck' difpofe 

Tcntr. Bdfe. 




of Alteration. 




:cording to Icawes dc Maris J is chc doubling ofz 

~ in refect: of a greater pz (as Tmcfor laith) it is the 



* Lurttion accorckn 
Ic&rNotei 

doubling of :hc proper value. Or iris 'the repetition oT one, and 
the ftlfc-fanac Nccc. And it is called Alter Mion* £u*[i titer* 

ac7if, ii is another action, to wit : Alccundary tinging of a Note, for the 

perfeciingof the number of three 



Rxle: of Alteration* 

17 Iril, There be ton re Notes, which may be altered, /faith Fruichtmu lib. 
- z . cap. 1 3.) a Z o/g ,a SrccfcjL Scmibrccfe^ and a Mimmc. 
2 Attention doth exclude the £.:rj, and is limittcdby a Mmime^ho 
caufea £jrgha:h cot a s;tea:cr than it. lidfc, ^hoicjieighbouring/gajt.ic 
may be : and the lctfe iigures are not to be reckoned after the number of 
three* 

5 A l tcr.\t:on h*jpp*n> *M*umbers which be not perfect, but are parrs 
ncighboiiringtopcifcctNoccs, becaide a perfect Note in as much as it ^ 
a per fed Note is ::ot lyablc to - {iteration 
^ Onely the Notes a:C altered, 110c the R*jis\ 

5 - /zVc ration fallcih vpon the teconu Note,noc v port die firil. 

6 fcucry altered Note coutaiiicth it fclfc twifc 

7 A like Note is not altered before a hke Note. 

8 i-toAtum oacly uls cut in perfect degrees* 

R j Aittr&*n 



58 Of <±A 'Iteration. Ltb.u 



$ Aitcrdttfi* comes for want of one Notc,whcu you hauc reckoned af- 
ter the Ternary numbring. 

lc As oft as two alterable Notes arc placed betwixt two impcrfc&iblc 
Notes without a rriike of Diuifion : the fecond is alwayes altered, as the 
Example following doth llxw. 



swing doth I hew. 



Alter a. Tenor. Altera* 



^♦Hf^^ iaSg 



Rife. 
n If a Rejl together with the figure, to which it is of cquall value, be 
cnclofcc benvixt 2.pcrfc<ftnotes;thc either the reft goes before the figurc,or 
followcsit^ifthc Reft go beforc,chc figure is altered : if othcrwifc, there is no 
place for Altera -M,becaufe the notes only arc altered^ not the ^cfts.Bc- 
f\dc Alter jtun fals alwavcsvpon the fecond, artdnotvpon the firft, thus: 



Tenor. 



s ^i W^ ^S a^g 



B*Je. 

12 Alter m ion is taken away by the fulncflc of the notes, and by the 
triih of Diuifion. In Ligatures a!fo Attention i<> kept, as in tlic following 

Exajnplcisclccrc. 



Tencr. 



Bafe, 
ij As ofc # a> djee ?ltcral4c Notes arc fUit within two impcif* tihlc 



Nutcs, 



'Cap.\\. OfTroportiorh V> 

Nt'i^TboththeirnperfectihJeftal remaine perfeer,and none of the altera- 
ble Notes is altered : becaufe the Tern me numbtr is enerV where perfect. 



The Thirteenth Chapter.' 

Of Proportion. 

rzr-rv^ Hercfore Proportion is the nature of two compared together in 

9$Wjfi\ one vniuocall thing.Vniuocall I fay ..becaufe in xquiuocals there 

i WM*' is n ° cotr.parifon : for a fell and a loud voice are not compared. 

£S2&&2 Whence is it, that proportion is properly called , when it is 

found in thofc things, which are equal! and vnequaH.iilce andvnlikc.Orac 

cordineto£«^; it is a ccrtairc dil> -faion of two quantities how bieg< 

focucr (being of the fame next C«*.«)onc to the other. Hence is it that 

things continuatc and difcrcatc, although they be contained vndcr the 

fame G««* of quantitic,yerarc not compared, becautcthey are remote, 

not nccrer 



e& 



Of the Diuifum of Proportion. 

P Retortions are fome of equality ,lbmc of ineaualitie. That ofcaualitie 
is the Relation cf two equal! quantities. For that isequall,whichxs nei- 
ther grcacer,not kflcchan h:s equal!. That cf incqua!it:c, is die difpofmon 
of two vncqua'.! quanc::es.For that is called inequa'J, which being ^Rela- 
tion with another is either greater or refer than it. 

What Provortmn is /r for Mulitisns. 
Ecaufe the diiumihtudc^ and ::ct the umilitudc of voyce doth breeds 



BEcaule the ddtimilitudc, ar.o ::ct tne •.inuutuuc -ji y U y«.= auiu ui<.=u= 
Harmonic: therefore the Art ofMuilcke doth oneiy conlidcr of ;hc 
,tor:icnot incqualirie.This N rvc-tbkhto -.vit,:he ?r<prt:vnot±z ;jrca- 
or c: the leilcincquahcie The Proportion oi theg-earer inequalities the 
ition o:* the neater number x» the !c!le,as fi:.^ 5- The i-rcpartian 
t!:c letter inequality: is coMrariiy the cvinrariio:: ot alcilc number to 



Pr 
ter 
relat 

of 

$:ca:cr,\<. of 2. to a. ot 3. to i 



re them : as Swnultipicx £x. m ^ 

Butfccingthat Multiplex ?/••>/<>/ /a; hath chicle coice :nMuucaJCy.a«- 
nanccs.and next tothat x\k Super ?*r :uh!ju -,and the ?»pc purtittu «ithtn«i 
n\o tol'ow ins none, wc doc therefore abandon die Super v^/ttf/n mum aic 

H 2 :c " 



6o 



Of Trof onion. 



Lib.u 



reft following, as vnworthy of die Harmonic ail Confort, and doc rccciufc 
the two formoftoncly. 



Of the Multiplex kindc. 
.T~Hc Multiplex Proportions both more cxcellciit,and more ancient than 
-* die rcft,as when a greater number being in Relation with a lcllc, doth 
prccifcly comprehend the whole Idler number more than once, as fay, 
twif c>or thrifcThc kindes of this will be infinite, if you compare cadi num- 
ber with an vni:ic,2s in the following quadrate you may fee. 



z 


5 


4 


5 


€ 


7 


8 


s 


to 


I 


t 


Y 


X 


1 


\ 


X 


X 


t 



D*pU. Trip, gtvulrtc. j^uintu. Sextu. Sytu. Ottup. Nonu* Dcch. 

To this forcfaid kindc is oppofed the firft kindc of the lefler Inequalities 
called Subntultiplex. The one of thefc deftroyeth the other,- and this kind, 
making the fame Relation of an vnitic to other numbers, doth produce out 
of it fclfcthc fame Species which a Multiplex doth, and Species of the fame 
names, by adding thcFrcpofition Subpnd is produced in this manner. 



X 


I 


X 


1 


t 


X 


1 


i 


1 


z 


5 


4 


s 


€ 


7 


8 


2 


IO 


S*b 

dup. 

i _ 


Sub 

trip. 


Sub Sub Sub 
qu*dr. quint*, fextti. 


Sub 

ftftU. 


Sub 
cflu. 


Sub 
nonu. 


Sub 
drcit. 



Of the SupcrpartienLr Kindc. 
C rpert>articular 7 thc fccondkinde of Proportions is, when the greater num- 
^ ber being compared with th c leflc,doth comprehend it in it felfc once, 
& befides fomc fuch part of it.Somc fiich part(I fay; which bcingoften taken 
doth make prccifcly the whole greater number. Of this kindc the forts art 
innumcrablc,if you reckon each of die numbcrs,taking away an vnity,with 
the next lcflcr,in manner following. 



5 


4 


5 


6" 


7 


8 


9 


to 




■z 


5 


4 


5 


6 


7 


8 


9 





Cffqui tefijHi Stfaui Stfqui StftjHi Stfyui StftJUt Stfqui 
*llrr*. ttrtt*. <ju*rU. quint*, fext*. frptim*. *»<, nana. 

The oppofitetothis, is Sub fuferpmhular i the fecondkind of the lefle 
Inequality : which doth produce die fame Sfedes , which die former doth, 
*ith the fame names,die Prepofition^^beingadioynediifyouwiilcom- 
pare each of theleffer numbcrs(an Vnitic I alwayes except)with the greater 
ncishbouriiigps licrc foUowctli themaoncr, 

Sub/rf- 



C a ? A i- 



Of Proportion* 



6\ 



2 


5 


4 


5 


6 


7 


8 


9 




5 


4 


5 


6 


7 


8. 


9 


JO 





J**/}/! fiitfef- fnbjef. fmhtf- /#-/# /**'*/- M>/- 
quialtcm cjMttr- qutquur* qui qui*- qntfex- ejHtfep- qtaoc* qut/tc- 
ra 9 id. /*. to. u. urn** /*• **, 



Bjf what mcancs Proportion is made of*quditte> and confequtntly 
cne Proportion out of mother. 

\A/ Hen you will make a Proportion out of Equa!itie 3 and one proporti- 
^ * onoutofanother 3 yourha!khustrucIy^orlceitbythisRuIcofS^- 
f Atf,Di(pofing three cqtiall numbcrs 3 fay vnitics 3 or any other, let three ci- 
ther be placed vndcr them,fo that the firft may be cucn with the firft ; the 
fecopjwichthefirftjand the fecond-the third^with the firft, the two feconds, 
and the third>and you {hall find it a DtipUfhas : 



l 


i 


I 


% 


W 


z 


5 


3 




I 


z 


4 


2 


4 


8 


3 


<J 


i^ 



i)iBr/Ae. Dtf/Ae, DupU. 

KowiTyouwilmilceTr/p^pIacingthe Dupltes^hidtx youhaue made 
in the higher rankc, let three numbers be placed vndcrncath, according to 
thcTcnarof the forefaidRuIe 3 and you hauc your defire; thus: 



l 


z 


4 


z 


4 


8 


3 


6" 


12 


1 


3 


5> 


z 


6 


18 




9 


27 



Triplt. 



TripU. 



Triplx, 



Kow if we place thefe Triples, which wc hauc thus found in the vppcr 
rttike^wcftu 1 produce ^AdrnpUsJby the concorcant 3 anJ regular oppofi- 
tion o\ the numbers vnwrittcn,of ^.idrupltes, Quintuples; and alfooutof 
*^>rrt*pUeS)$t\xtuplie$ y *nd io forward infinitely. 



1 


5 


9 I 1 


4 


16" 


I ! 5 


Z5 


I 


4 


161 1 


5' 


Z5 


! 1 6 


*6 



£uzdrupU. 



SjiintupU. 



SextupU. 



And if out of Duplies $ou will create Sefquialterdes, inuerting the num- 
bers of the Duplies So that the greater may be firft, and the leflcr (iicceed in 
a naturail order: let there bevnder placed three other numba!>,as often as 
ihclaiwlKule rcquireth,and you hauc:hat,as followeth. 

S Sefquu 



61 



Of Trcportion, 



Ltb. 



I. 



A- 


z 


1 


S 


4 


' J~ 


xz 


6 


5 


4 J 


6 


9 


8 


\z 


18 


IZ 18 


ZX 



Sefqwaltert.. 



Scfqnialterd 9 



Sefqutalttrd. 



Now as of Duplet you male Scfqu ialtcr acs , fo oiTriples you may make 
Jefqusterturs^ndof .$uadr$<pUes fc(quiq*Artaes y by conucrting the num- 
bers, as was (aid of/efquUltcraes^nd (o you may goc infinitcly,in manner 
following. 



9 


5 


X 


7£ 


4 


I 


Z5 


5 


1 


5) 

- 


IZ 


16 


16 ZOZ5Z5 30 56 


Sejquitertid. (efquiquartd. fejouiquint*. 



0/<f />/ tt hat Proportions MuJicaD Concords are made. 
HT He Proportions > which make Muiicall Conibnances^relixe/as Boeth 
•* ** and Macrobw* witncfle) three in the Multiplex Kind, to wit 3 thc DupU, 
TripL y j£uadrtipU : 3 in thc/uperpartuul^ y zo\\ityJf/quultera^/quiU^ 
fc/qutoci aua. Of which Specially the allowed Internals of Mulickc arc coin- 
poundedCas faith Tlutcrch^ Where relinquifhing others, wee thought fit 
to makeplainc by fhon precepts and examples thefe only,which eoniift and 
arc deicribed inKoces-So keeping the naturall ordc^wc will begin with the 
Ztorpi^becaufe it is both worthy cr an d better knownc,than the reft 

Of the Duple Proportion. 
T°\ jr pw froportiojthzErft Idnd of the Multiplex, is when the greater num- 
*-' ber being in relation with the Icffc,doth comprehend it in it fclfc twifc: 
as 4.to 2 : 8.to 4 Bur MiificaUy^ when two Notes arc vttcrcd againft one, 
which is like diem both in nature and kinde.Thc fignc of this fbmc fay is 
the number of 2 : othersfbecaufc Proportion is a Relation not of one thing, 
but of 2)aftirmc that one number £ 2.4.^. ? is to be fct vndcr another 3 thiisj 
And make no doubt but mall 1 1.2.30 the reft tlmordcr is to be kept. 




Ht&l 



"fcHPt^H l 



ST^M^ 



Tenor DupU. 



$1 



fill|I 



I would 



C a P A 1* ^/ 'Proportion. 6^ 

1 would not haiw* you*gnorant/hatthe duple Proper turn ^ and aii the o- 
thcr of the Multiplex kintf, are marriccd by ecrrafmc Canons^faym <r thns, 
Detrrfttt wdH/>kit»Srfpl*> znd (o forth, VV hich thing becaule ic is done 
cither to iriaxafcrrenSdil^eiiCe, or ro fryrhcir cunning, wee miflikc nor. 
There be that confider the whole Proptrtun ir» figures, which are turned 
to the left hand-*ard with fignc*,and crookes/aying^hat this C.isthc du- 
ple of this^. and this {of \ and m Rcfts that fhis "| K rhe duple 6t this f 
I thinkconely vpon this reafon, ihitTruxhinu* fritt . hh.ixjp^ faith that 
the right fide is greater ar.d p^rfecter than the left: *r.d The left verier rhan 
the right. Againic which opinion neither my fcifcam.Forin VaUtuu prohus 
amofi learned Gramarian in his interpretation of the Roman letters faith, 
that the letter C. which hath the forme of a Semicircle lignifies Cmns chc 
man,and being turned, (zgnihes r a;* thewoman. And Fjhms Stuintilidnux 
in ipproouingcf /W>»* hisopinion faith > forCjius is (hewed by thcicrrcr 
Owhich being turned fignifies a woman:and being that men are more per- 
fedthan worn en,the perfection of the one. is declared by turningrhc Semi- 
circle to the right hand,&:the wcaknetlcoftheothcr by aiming it to the left. 
By this occasion thcMufirians thought fit co take away the Inifcicft fide 
fremthe right, thus; 3J g 3 C K 

Rules of ?r portions. 

FIrftjEuery Proportion is either aken away by the comming of his con- 
trary proportion 3 or is broken by theintcrpotirion of a fignc. As by the 
comming of zfmbdaplejL duvU is taken away 3 and fo of others. 

2 Eisery Proportion rcipccrcrh both Rdts and Notes. 

3 Eucry Proportion ox the great Inccuaiiric doth uiinmitli chc S<xcr. 
and Rcfts with his natural! power: but die Proportion of die idle [iiequa- 
litic doth inenrofc them. 

4 Alteration and Imperfection are cncly in thofe Proportions jyhich arc 
inpetfeft decrees , net ther are rhcy in all figures, but in thofcoircly, which 
thole decree* doe refpect with their perfection, or to which thcie accidents 
bdldcs the Proportion doe ?e!ong. 

5 The fefyridltcr* Proportion Joih exclude the r<?r».ir/rperfcclionof 
Rgurevnlciie c ^ e y kauc ' c *" roin a -is^e. Wherefore when die figt;c denies 
U; they recctue neither Alia U:on y wz Imperfection. 



of the Triple. 

T He Triple Proportion^ the fecond kinuc of die Multiplex is, fvhenthe 
greater number, being in Relation with the Ieilc > doch coinpcciicnd ;t 
in it fche j.timcSyis &.:o 2 : j. to 3. But Mulically, when three Notes are vt- 
tcrcd aganul one fuch, which is equall :o it nikind. The iigneof this is the 
number of three ice oner an \ mtic, thus ; 

S 2 Lin** 



~m*m~ * i ■ ———»————— ■ ' ■ ■ ■ ■ i»^— — i ■ ■ ■ ■ > ■ ■ i . ■ . 

6\ OfTroportion. Lib.ii 



Tenor TripU. 



a* 



^^^^^^ 



BAJfusTriflu 



Ofthe£uadrupU. 
'He ^usdrupU is die third kind of the Multiplexing is, when a grea- 
ter number doth comprehend a lefle in it fclfc f ourc timcs,as 8.to 2 * 12 
to ^.But Mufically,whcn 4«Notcs are founded to one : the (ignes of it arc 

thcfc£*®;| as thus! 



7Vwr Quadrupld. 



iiiiiiiisissigs! 



£i^5i J guddrupUi 




of the SefquUltera, 

np He Sefqu'ultera is the firft fort of the Super particular, and is, when* 

•* great number doth comprehend a lefle once,and (bmc other part of it: 

as 6. to 4:^0 6.But MuficaUy, when three Notes arc founded againft two 

of the fame kindc : the C 2.6. 9. ? „ . . rr 1 r il* . : ~ 
r r u_r < * ^ £ as int « c Example following, 

figncs ofit arc thcfc;£2-4-^S 



7to*r Sejquialterd. 

IliSiiiiillifiiB 

B.iffusjefquidlter*. ° 

There bc,whichaddcdie colour to die figures which are mi&cfefquUl* 
teratt by the Caru&cis of the numbers ; and comnxWy fefquialterathg die 

Jefquulteraes . 



C a P A h Of 'Proportion. 6$ 

fefquialtrraes.Andthcfctncn (as Framhinus witneffcth)hauerhis faulty that 
they make otmo frfquidlteracs jnoix duple fefqutaltrrfifasxhey thinke)but 
a duple frfquiquart*. Some put Jmper feci ton & alteration irwhtfefatiialte* 
rates of the iinperfedltimc 3 nKfuringaBr^RefttvitlioneTacla(thotigh 
in the Notes they fct ^femihreefes in one Ta&Btit vpon what ground they 
doc it, excepting of an Aflfc-hcaded ignorance, I know none. For Imper- 
jc (lion admits not the Imperfection and Alteration of figncs, neither doth 
Proportion exclude Rcfts, \ 



OftkeSefquitertid. 
TT He Sefqu'tterth Proportion >which they cal Epitritejbcczufc it b made 
* by an I.pitrite>Maer. faithjit is when the greater number of Notcs,doth 
containcthc leflerin it fclfc,&befideshis third part.as 4.to 3:8 to6:i2.tO£. 
But.Mufically, when 4. Notes arc founded againft 3. which are like them* 
(clues. The ugnes of it arc thefc, 04 8,12. o There be that afcribc an in- 
ucncdjemiorele to this Proportion, £ 3.6. ^.^ but Tmclor fcemes to be *• 
gainit that. 

Tenor fefquitertU. 
B 'Jjusfcfquiterti*. 



Of the fefquioctaua. 

HP He fefquiotfjttd Proportion is ? when a greater number bcingcomparcd 

-* with a leflc,doth comprehend it once, and with it his 8 part, as 9 .to 8: 

18 to 16. But Mufically, when 9. Notes arc fungto 8, which arc like them- 

felues.The fignc of itis the number of ^.fetouer 8,thus; C$ 3? 

< Or > 
Tenor fefqa to claux. 



^fe£%*te^ p 



S.tfi*s fefqutoctait*. 

T Thsre 



66 Of Trof onion. Ltb.i. 

Thcr* arc bcf:dcs ? who (bccaufc the value is diftiinUlxril by adtoynin* 
the colours)docconfidct the Sc/qussUcra by ihc lulncs of the Notcsjwhicli 
alio they call HtmvU.Yox HernicU is t hat,whuh ScfonAltcfA j* 5 faith jiulus 
Gtlitus l/bA9Jap.i4-\'cithis blacking of the Notes, it accidcnull to it ne* 
ucrj bur vndct the impcrfc& qiumitic,as Frwchifltu writcth. 



lener Kernel*. 



Befits HrmcU. 

Though there be many other kin Jes cf frefcrthns^ which the Mufiti. 
ansdoe obferue in Harmonicall Cement , yet hauc 1 omitted all thefc for 
bricfcncflc fckc, Icxfl children^for whom this Bookc is made) fliould haui 
their wits rather dogged than helped hereby. Therefore the learned may 
pardon me, becaufe this is written for them that arc hungry, not lor thoft 
thai hauc a delicate mawe.Yet (by the graceof God)all that now for breui* 
tiefake,or vpon other occafions 1 now omit, (hall bcpaincfully fetdowne 
in a greater volume with more diligence and care. Mcanc while, Iintrcat 
yong men to excrcife themfc^ues with thefe fmall prccepts,that when they 
arc to goc to higher matters they maybe fiu 



c i ht tfidtfiktfccond Both* 



<*7 




TO [ c P/JJL/r SV%VS OF MfL~ 

TtNDVf'Gll A SHARP-VVI TTED MAN, MASTER OF 
Art, and a moft cunning Muftun^ Chappcl-Mafler co the Count 

r^Atttjf the XytKC or X*H*ri*: Andr:ji4 Ornuhf>1<*r;ht** of 



M*-J*%> '"-^ ^-<^ n > 






sjV| \\f^y%J h Crextvresf cresture mate itl-e to r ;>*Axt nature mUte 2 

M ^jAV//J %£ reafafrfieprAU of Lav s s»i leirnw^ ; by his Crea* 
^ v\ViKi! & taurs^reat y^ftjxrre^referred before MvvreafonrJiU 



K*i 




'Crea* 

CreMures ;;: jlI thing: put jer.Jlytn two ^to^xre ^Speech 
And Rsjfjrri it fiuoivcs that Ignorance *n htm is Jo much 
the frxier full Jy horv much h:eis ,nore worthy than 
cthn Crexture:.?*'ow ths .ts it is ifwl* %une for Al.ncx^fo for Set-otters it is 
thefivUJl difgnce: the courfe of-xhofe life is orj.ynedfor this, that by liuin* 




ly oh fruition w eretf'^ojt <:ndef t: net,. Izv<ts *irrea vp to heipe learners 
inth.it Yinle x*[*jaid iftsr ~Jn hjmdinz ofQzr.czcx^huhin the former b cokes 
Tte h.\%e dzlhiertdjo xeuuer the Eccieii~f!:uil Ac:, nt. A matter fiireiy hard* be* 
txx\: it requires both i C r immar:an ind x ±lz\iti*ji, .in? J/j bee:i$fett is to be 
hsd rather by x r e:han '-v witi'm : ~nd r urrf::r brr:::U cither none f>r~*en >f:z? 
men bane handled this wine : hr this Ljxulty the?: or he vrasj rrhiie hmared 
$ro:.n f;;ih* the !i*!:r ? note beingfet -mt rjiciperyecrcd^ I cvmrnit s: to your !ui~ 
thn y mdj^b:eCi' :t to your cerif$rc y 'refi-f(hingyvu both to wtnd the t?ro'ursyot$ 
jin-iimtyondto iefendlt \rvm the •nn..fcnof :nutou5men . betzttje thou >irt 
rf>if)lcdrTKd % gpdlyyind hcfides other nftt of nature jiuil tt cie^m file^.ftiect 
%:.tftyifid tojin^jng x ^r^efhltunnm^riejje^herin thou doeft exceed thy fei'ojv- 
Zlufowisfm enter i&iniH^ t ir..n?jr$ .:> : to *our cofi found) 4 libetdil humour. 
Whence it is come ?op.:j/e s th±t .ulthc Ms/fers cf 'he Bucorific xniuerjity^vhuh 
they c.iil \\^\6^h^^ y lo fm^uUriy l:»cf^rijur ,:>nurt,:tC: y*u.? % \rewelt^;vr- 
thj Sir)*rhi defend thy X>\\it&L>fr*Mtnc c»h*ghs ba*,ktbiter m 



i * 



THE 



48 












THE THIRD BOOKE OF OT^Yf. 

TOPARCHVS HIS Jv/rJ/CA'£,TOVCHING THE 
ECCLESIASTIC ALL ACCENT. 

The Argument of Mzbcv Cboterus vpon the Third Bookc. 




The FiRiT Chapter. 

In Praife of Accent. 

**% Ccent hath great affmitic with Concent ^01 they be brothers: 
becaufc Sonus > or Sound y (the King of EcclcGafticall Har- 
mony) is Father to them both , and begat the one vpon 
Grammar 5 the other xponMufcke^hom after the Father 



K^a had iecne to be of excellent gifts both of body and wit,and 
the one not to y ecld to the other in any kind of knowledge, 
and further that himfclfe(now growing in yccrcs) could not liuclong^he be- 
gan tothinkc, which he llxnild leauc his kinedomc vnto; beholding fomc- 
time the one, (bmctimcthcother,andthc faihionsof both.The Accent was 
elder by ycares,grauc, eloquent, but feucre : therefore to the people lefle 
pleafing.ThcCYwr/tf was merry /rollicke,liucly, acceptable to all,dcfiring 
more to be loued,than to be feared : by which he cafily wonne vnto him all 
mens minds.YN hich the Father noting,was daily moreand more troubled, 
in making his choyfc.For the Accent was more frugally tlieothcr more plea- 
ding tothc pcoplc.Appoin ting therefore a ccrtaine day, and calling toge- 
ther the Pecrcs of his ReaImc,to wit,Singcrs 3 Pccts, Orators, morall Philo- 
fophcrs/oefides Ecclcfiaftical Gouernors,whichin that Fun&ion held place 
next to the King,bcforc thefe King Sonus is faid to hauc made this Oration: 
My noble Pccres, which hauc vndergone many dangers ofwarrc, by land 
andfca,and yet by my conduft hauc caried the Prize throughout the whole 
world} behold, the whole world is vndcr our Rule, wee hauc no enemy, all 
things may goc profperoufly with you; only vponmc death increafcth,and 
life fadeth,my body is weokned with labor, my foulc confumed with Carr, 
Icanexpctt nothing fooncr than death-Whcrfbre I purpofe to appoint ore 
of my Sonncs Lordoucryou,him(I fay) whom you (lull by your common 
voyecs choolc,that he may defend this Kingdome, which hath been pur- 
chafed with your blood, from the wrong and inuafion of our enemies. 

When he had thus faid,thc Nobles began to confiilt,and by companies 
to handle concerning the point of the common fafcty > yet to difagrce,and 
fomc to choofcthc one,fomedie other. For the Orators and Poets would 

hauc 



(^ap.i. Of the 'Definition ofiAc cent. 69 

hauc the sJ(ce#tsjhc%'u{\uavi$jind the Moralifts chofc the Concent .Buixhc 
Papnlc Prelates^ hohad thcRoyaltics in their hands,lookingmore deepcly 
ir.to the matter, enacted that neither of them fhould be rcfufcd,but that 
the kingdomc fnould be diuided betwixt them, whofc opinion the King a!- 
lowcd,and fo diuided the Kingdomc, ihztCcncentus might be chicfe Ruler 
oner all things that arc to belung(as /Ijf/nnes 7 Sec]uenccs^Anttpbones >Rc(p*»- 
fori(Sjntiot!H<,Tropcs^ and the like : and Accent oner all things, which are 
rca'. : ;as Gorpcls,Lcaures > Ej)ift!cs 5 Orations > Prophccics. For the Functions 
of thcPapalc kingdomc arc no: ducly performed without C^ttW.Sothefc 
matters being feticd each part departed with their King, concluding that 
b,rh Concent and Accent flywldbc (penally honoured by thofc Ecclcfiafli-. 
call pcrfons.W hich thing Leo the Tenth, and Maximilian the molt famous 
Romans F.mpcrour, both chicfc lights of good Arts 3 (;;nd fpccially oiMu- 
firhylidhy jicncrallcor.fcnt of the Fathers and Princes approouc, endow 
with priuilcdgcs 5 and condemned allgainc-faycrs, as guilt)- of high Trca- 
fon > the one for their bodily; the other for their fpirituail life. Hence w as it, 
that I markinghow many of thofc Pricfts, (which by thclcaucof die lear- 
ned I will fay;coc rcade thofc things they hauc to read fo wildly, fo mon- 
ftrouily>fo faultily ,that they doc no: oncly hinder the dcuorion ot" the faith- 
full,but alfocucn prouokc them to laughter, and fcorningwith their illrca- 
c!ing)rcfolucd after the do<5hrinc of Concent to cxplainc the Rules of Accent y 
in as' much as it belongs -to a. \tufithr. y that together with Concent ^ Accent 
might alfc as truchcire in this Ecclcfiafticallkingdorncbc cfhblifhcd.Dcfi- 
ring that the praife of the higheft King, to whom all honour and rcucrcncc 
is duc 3 mieht ducly be performed. 



The S he on d C hapt e f. 

Of the Definition* and Dhifion of Accent. 
P^Z ^ Hcrcforc Accent (as Jfutorus lib. r. etb.cap. l-.writcth) is a cer- 
f^w:-j u * nc ^ avv ? or ruIc,for the rayfing,or low carrying of fillablcs of 
Pi^'^i cac ^ wcn & ^ r 3 ,c * s c ^ lc ^ u '° of Ipcaking.For that (peaking is ab- 
k"^->^« furd, which is no: by Accent graced. And it is called accent * bc- 
caufc it is ad Cjntfijhaz is, dole by the fong,according to Ifidore : for as an 
aducrbc doth determine a Verbc,tb doth accent determine Conccnt.Butbc- 
caufe thefc dcicrrpc jons doc rather agree with the Grammaticall accent fhzn 
with the Mulicaiy hold itneccflary tofearch out by what means the Ecdc- 
fiarticalljcY^/mayriglitly be defenbed. Therefore ^r^w/(asitbclongcth 
to Churc!x-mcn) is a melody, pronouncing regularly the fvllables cf any 
words ^according as thcnaturall accented than requires. 



N 



Of the Diuifionof accent. 
Ow it is thrce-fo!a,as Prtfcian and Ifidore witncflc,the Craue,thc Acute , 
and the :.i»r.m'/:.\v.The Owe is that.by which a fillaMe is carried low: 

V bu^ 



70 Of the Definition of (tAccent. Ltb.^. 

but tofpcakc mufically,it is the regular falling with finall words, according 
to the aiftomc of the Church.Of which there dc two forts.Onc which doth 
fall the finall word, or any fyllable of it by a fift : and this is properly called 
Crane. Another which doth fall the finall word,or any fyllable of it onely 
by a third jWhich by the Mufitians is called the middle Accent. Neither hauc 
the Grammarians caufe to be angry ,if they find any thing here contrary to 
their lawcs.Forwegoenot about to handle the Grammatical. Accent jxhich 
Prifcianflndothcvs hauc throughly taught, but the Ecclcfiafticall, as here 
followeth : 



? = 

Medius. Gnuis. 

Tdrce mihi domt ne, ni hil trutnfunt di a me #". 

An acute Accent grammatically, is that,by which the fyllable is raifed. 
Butmufically,it is the regular cicuation of the finall words or fyllablcs ac- 
cording to the cuftomc of the Church. Whcrof there are likewifc two kinds: 
one which reduceth the finall (yllableor word to the place of his difcent, 
keeping the name of Acute.Thc other, which doth raifcthc fecond fillablc 
not to the former place of his difccnt,but into the next below. Which is al- 
fo called Moderjtc,bcaiufe it doth moderately carry a fillablc on high, as 
appeareth in the example following : 



C ♦ ♦ ♦ » ♦ / ♦ +. s i ♦ ♦ / ♦ ♦ » / ♦ ♦ » / ♦ ♦ / ♦ /# 



f|M/ +#» /M ♦ / »♦ / ♦ /« * 



Modcratus. Acutus. 

illuminate Hierufa iem qui a *h ri a do mi ni fuper te or ta eft. 

The Circumflex is that, by which a fillablc firft raifed is carried lowJFdr 
it is, as lfiiore witncflech,contrary to the acute > for it begins with the acute % 
and ends with thc*ftf/'?,vnknownc to Church-men.Yct the Monkes,andcfc 
pccially thofcof the Ciftertian order, hauc the Circumflex accent, as at the 
old Cell a Monaftcry of the fame order my fclfe haue tricd,and I my felfe 
hauc fecne many of their bookes in the fame place. 

Now farewell they that forbid Church-men to vfc Mufickej what folace 
(fetting finging afide)can they hauc cither morchcalthfull,or more honed? 
For whilft we rccrcateour fclucs with finging,all cuill thoughts,and fpeech, 
all backc-biting, all gluttony and drunkenncfle, arc auoyded. Wherefore 
Song-Muficke both plainc and Mcnfurall, becommeth the moft religious, 
that they may both fingpraifcs to God, and make thcmlclucs merry at fit 
times of recreation Jhitleauing this difcourfe,lct vs rcturnc thcthcr whence 
we digrcfled ? and fend thofc which would bufily enquire the nature of the 
Circunfox accent, to Mich.Galliculus>vihohzth fct out the matter fo briefly, 
that it need no other explayning. 

The 



C a P*M* Of ^ e generalities of Accent. 71 

The Third Chapteiu 

Of the ^enerall Rules of Accent. 
re^^ijj Ecaufc to proceed from cafic things to harder, is the naturall 
IB t^* methodic thought fit firft to cxplainc the gcneraU Rules of ac- 
£J Wujji ccnt 3 and fecondly the fpeciall. 

*£*=»*££ l £ ucr y wor j of one fyllablc,or indcclinabIc,or barbarous, 
requires an acute accent : as AJlarotySenachertbfucfefum. 

z Grcekc and Hebrew words in Latinc terminations rctaincthc Latine 
accent f& Parthenopolis 5 NJz>arenns Jiierofoltma. 

3 Grcekc and Hebrew words hailing not the Latinc Dcdcnfion,arc a- 
c\itcd^sChr)fon y Ar^rion^brainf y f/ieru/alem 4 

4 A °raue accent is made in the end of a complete fcntcncc, an acute 
Iikcwifc,the Moderate and Meane oncly in the end of an imperfedtfcntcncc. 

5 Agraue accent muft not be repcatcd^if no other come bctwixt,vnleflc 
the fpeech be(o fhort,that another cannot come bctwixt,as thus: 

■^h»/^/» ♦ ♦/ ♦ / ♦ ♦ ! »♦ / ♦♦ < »♦ / »♦ / ♦: 

fail um cfi vefp* re & M*** & lts ficundns dixit quftfut Dcus. 

-_ ■ ■ — 1 ■ m , » 

The Fovrth Chapter, 

OfthefpeciaU Rules of Accent. 
•^^Sir; In%A word that is of onefiKablc^indecUnablCjbarbarouSjOrHe* 
' V J i^tjA brcwjwhidi wee faidc muft hauc an acute accent >either is in the 
I • ^vj| cnc * °^ a com P*eat fcntcncc, and is thus acuatcd i or in the end 
i£&&Mj of a fentence not complcat, and is thus. From this Rule are ex* 



ccptcd Encletical Coniuntf ions^vhith arc marked with ngraue Accent ,thus: 



T>:ir.inusl:a:tK3?$ ildmitt aA me (*- e g> txaudi^Tn >« Dots dommufijue 

2 The firft fillablcof a word which hath two fillablcs, doth alwaicsrc- 
cciuc the .w<vtf, whether itbcfhoitor long, thus: 



r+/» / » ♦♦♦♦♦+ / ♦ ♦♦♦ / ♦♦♦ / » 

r^y- 



Flfrgtt teU-.t ymfr.t. Ft in a mjri ttt Ji nt l*s mo tm hi tut o cu lus mncj. 

} A word of many fillables put in the end of a fpeech, cither hath die 
j\ift (aire one Long or Short : if Long, the accent fals vpon it,if fhort, then 
the Lift faue two recciues the accent. 



♦/ - Gh 



li"nt.m'i ]-rtt.fi,iH f*eril ru: L«i nrcfcit. Et mm; e lus p* In Ions 

V 2 4 A 



72 Of the Toints . Lib. \ % 

4 A fpccch with an interrogation^ hcthcr it hauc in the end a word of 
one Tillable, or of mo fillables,or more, the Accent (till fals vpon hislaft 
fillablc, and that mull be acuatcd.Now the figncs of fuch a fpccch arc,wA^ 
7vbiehy7rfat)2nd thofc Which arc thence dcriucd : Txby y whercfore^Yl)en y how y 
in what fort>whcther y zt\d fuch like. 

e+V t/ * f j «/,.** f i ♦ v* » »/< * * * »/♦, * * ) ~ 

f'nje r« fir Quid fp h'.mo? Qu.inta* bubt » 1/1 i «7ifi Mfr* r£- Jv««t f ,r ? 

To thefcarcioyned Vcrbcs of asking as lash, Jfeehe, I require, 7/earch y 
lheare y lfcefx\d the like. 




The Fif t Chapter. 

Of the Points: 
, Ecaufc the Ecclcfiafticall accent is commonly knowne by Points, 
it is ncccflary to dclhicr the nature cf ccrtainc Points fitting this 

fnirpofc. 

i^v^^ x yj lc />^/ 5 which they call a D.i/ft,if it be placed betwixt 
m&rc words of one part of a fcntcncc^ it ftcwes they arc to be rcadc 
diftinaiy. 

2 Two Pricks,or one Prick fct dircftly on the middle of the right fide, 
Is a markc of the middle accent jxhkh difcends by a third. 

3 A Prickc in the end of any fcntcncc railed a little abonc the middle, 
doth rcprcfent cither the acute, or moderate accent, according as the fcn- 
tcncc giues tL 

4 A Prick a little below dicmiddlc of thcword^isamarkcofthcGrjw 
decent.. 

5 A Point of Interrogation which is made thus ( ?) being found in 
fome placc,doth fhew that the lalt (iilablc of the word,(ro which it is ioy ned) 
istahc pronounced with an acute acecnt.Thc cuidcncc whereof followcs in 
the example following. 

C ♦ > >/+♦/+/++*♦/+ /♦♦/♦ »+/+♦+/» ++hm++**£ 

^ — — - M^^— — ^ — — ^— l — — ~— ^»^ ■ . ——————— | | ■ 

5— — 

Nfjitrnnivrf (um damtajfrm in <«m!>u yirenrtrrtj htr'n'furr. 9 f.rrt£*m t fl\t<Ut*rui in 

• C 4 ♦ ♦♦ / ♦♦ / ♦♦♦♦ '/ ♦/♦♦+4/+-44+ / 4 VM 4 4 — */— 

5 » / <; ~ 

tv? ucurr.i mt hi it»» r inU*<»m *t m tcre fun. J»f«jntM rum f* tel Is mnt 




&zp± 



ftX.S.TTfhrnd.JuniMXAt fyfULm tn VAlfenrtntit Grift. D* ti he r.:n< aut-\ 



. £•/ ♦» ♦♦ / ♦♦ / ♦♦*+4/4+p i ♦ / ♦»»♦ / ♦ 4 4 / 4 ♦ / ♦ / ♦»- 

I.e f* ti *j ijldj (ATfH$ efftrn^n do n.t tu r» ? int< *>**»} ^.¥i„Timhitnrn»jHiJ tjj'et 



w a nu (o rum 



]p.\Ur-ii > 



Qap.6. ^Accents in the SpiflleSi 7$ 

-( ^vf*** 1 * ♦ / »♦»♦ / ♦ ♦ ♦ / ♦ / ♦♦♦♦ / »» / »»»♦ / 

fyafHtuS? S.wo mi hi (on/tlio di x.t. Hortir enm fi d»ti a t Ms do n* id ri 




em fu It Je Brunjaru^TuaMl? tl '**»'*> mi ft re re tu,lts m 



A- , 



«2A_£2n£ 



The Sixt Chapter. 
Of Accent in the Epi/lles. 



k*y\ 



, ** Hetotall decent of Epiftlcs is diucrs 3 (according to thc^diiictCfy 
J g$ of Dioceffcand Religions) yet the paniaJl is the lame withali, 
Wu %f& becaufe it proceeds from the cjuantitic of Sillables, as,by the 
Mffili&fc. vndcrwrittcn rules is clecre. , ." . 

1 Euery accent of Epiftles and Gofpels are taken out of the fiilables of 
thcfinallfcntcnces 3 and their number? - — 

2 When in the end of a (cntcncc is placed a word of one fiHablc'the ac- 
cent is varied according to the varietic of the words going before. 

3 If a word of one fillab'c eoc before the like final! word, and before 
it a third of the fame fort^henrft is to be raifed, thus : 



*Sic inf.,i uf.'n:qu:.itmr*nqujtm r.n tcm+rus fit di nos. 

No\v'by^itstn^toncs..(iccordiD§io.dicMorfics) that decent is diftingui- 
fhcd,Friar Muhtelde Maris Callicults in his Treacle, which hec wrote both 
trueiy and learnedly ,hath worthily thewed. 

4 If a word of two fiilables come before a word of one fiUablc foiall, 
then the firtthllablc of it mult be raifed, whether it belong: or fbort^thus : 



C:nnij «• n m *•*';♦' ^ 'ur.T jl tjun di l» »<r 1: um tx t e/f. 

5 If a word of tlirec iiliables come before a word of one fillablc finall, 
then is it to be rai(ed,if it haucthc lalttaue one Lon^ : if ftlxxt, then the**- 
cent i< to bctranilatcd to the Lilt lauetwo. 



U fl*^^""*¥ &f 



^'Jh*^*^*-T---A*±±++h*<H 



/»» r\i cf L) u» y^i • *.f "»">». Dt-'hen li tt 3 m* >n ercutTA 

6 It a word of two fiilables be placed in the end of a fpecch, then the 
la ft fyHable fauc one ot the word going before mull be railed,;! it belong : 
If ?t be tk>rt,the laft failing two, thus : 



p ^"*"""****^^ 



l j, iv it *~ u. E£ in J.'c rt* t+ di '*•: S.vxt^iids ten r* 9 mc d, 

X 7 If 



74 Of l ^ e Accent of Cjofpels. Lib. 3. 

7 If a word of three fyllables be placed in the aid of a fpecch, and a 
word of oncfillable goc before it 3 then this is to be railed ? but if a word 
of two fyllables 3 then let the firft fyllablc of it be raifed , whether it be 
longer (hortJfa word of three fyllables goe before a word of three fylla- 
blcs 3 it/aifcth tlielaft faucone 9 if it belong: It it be (hort, thclaft fauc two, 
thus: 

Tn fcis om ni a. nonne dtx it da mi ruts caiHttttes D< o ?lr,r* ant. 
„*lr it li Jix e rvnt dorm no nrmit em m s & minus. 

8 If in the end of a foecch be placed a word of more fyllables than three, 
then the firft fyllablc of it muft be raifed^if it be long : if it be fhort^thc ac- 
cent fals vpon the word going bcforc 3 thus : 



Dtx it. domi /mi cm nifottns in temflo 5* h mi nis fnnt a» rei p* ri t tes. 

The Seventh Chaptfx. 
. Of the Accent ojGeftels. 
He totall accent oi Golpcls, is differing in diucrs Dioccflc and 
Religions. But the partiall, which is the fame cucry where* is 
comprehended in the Rules following 

i If the fpecch end with a word oi one fyllablc,ahd another 
goc before it^and a third before that^the accent is taken from the firft,thus: 
2 If a word of ovo fyllables goe before a word of one finall, the firft 
fyllableof itrccciucs the 4rroff,whcthcrit be long orfhort^thus. 




Surrexit nan efi bit. Om ni « ter hd h*c. Do mi n$ts dedit l*oc. 

I If a word of many fyllables goc before a word of one fyllablc finall, 
the accent fals vpon his laft fyllablc fauc one^if it be long > if it be fhort, vp- 
pon the laft fauc two. 



J ?»^/+++ ^ * /+j »» / »»» f »+A ¥ - 



Dolentes <jue re b* mut te nonne dix it era ni a b*c. 

4 If thefpccchcnd with a word oftwofdlables 3 thc laft fillable fauc one 
of the word going before muft be raifed ^if it be long 5 if fliort,thc laft fauc 
two, thus « 



Vt dcfin It retur v m merfis Or bis jihrat^m a» t*m ft nu it /«••&. 

5 If 



C a P*7* Of the Accents of Tropbecies. 75 

5 If the fpeech end with a word of three fyllablcs,hauing thclaft fane 
f jncLong,thenthc accent fals vpon the laft fylhblc of the word going be- 
fore.But if it befhor^then thclaftfillablc fauconcof it fhall rccciucthc^- 
ce#t jthus: 



3+fW+H>P* W¥ l*+J J HrfT 



Ex e it €ju* fnit F ri *. ft rlaufa eft ia nu «. 

6 If the finall word of a fpeech be of more fyllablcs than three, the 
Accent fals vpon the firft fillable of it,if it be long : if it be fhort^thelaft 
fillable of the word going before is raifed. 



^^/^♦/♦♦♦♦^/♦^ ^ 



//* irtnfmtgrAtiont H* bt h tf'V. Et f. h m al ttf Jl mt m* <<i hi tur. 



T! 



Of the Accents of Prophecies § 
% Herc is 2.waics for Accenting rrophefus.VorCmnc are read after the ma- 
ncr ofEpiftlcs^as on the Fcaft daics of our Zj^thc ¥ptphanyfOkrijlmAS 9 
and the likc,& thofekeep x\\caccento( Epift!es:fomcare fung according to 
the maner of Morning Lcflons^s in Chrifts night,& in the Ember Faftsrand 
thefc keep the accent ofthofc Leflbns But I wold net hauc you ignoranc^thac 
in accenting oftentimes the maner and cuftomc of the Country and pbec is 
keptjas in the great Church oiMagdeburghfTu aute Pominejs read with the 
middle fillable long,by reafon of the Cuftomc of that Church, whereas o- 
ther Nations doe make itfhort, according to the Rule. Therefore let the 
Reader pardon me, if our writings doe fomctimc contrary the Dioccfle, 
wherein they liuc. Which though it be in fome few things, yet in the inoft 
they agrec.For I was drawneby my owne experience, not by any precepts 
to write thisbbuke.And(if I may fpeakc without vain- glory) for thatcaufc 
hauc I fecne many parts of the world, and in them diucrs Churches both 
MctropolitMe2ndCatbrdrjll,i\ot without ^reat impeachment of my ftatc, 
thatthcrcby I might profitthofe that fhall line after mee. In which traucll 
of mine I haue feen the iiue Kingdomcs otPunnopia, Sarmati4,Boemia y Den- 
fnarkejind of both thcGerman:es 6j.Diocefles,Cities 340. infinit fafbions 
of diucrs pcople,befidcs fay led oucr the two fcas, to wit,the £i///r/r,and the 
great OMo^not to hcape riches, but increafe my knowledge. All wliich I 
would haue thus taken, that the Readers may know this bookc is more out 
©f my cxpcricncc^than any precepts. 



The end of tic Third Booke. 
X 2 




y6 

TO THE WORTHY AND INDVSTIUOVS,MASTER 
Arnold Schlickjurxoft cxquifitMufitian^Organiiho the Count Palatine, 

tsfndrtas Omubcpanbus ot Uiftjnin? t fends health. 
tre Arnold, whereas mans intellect in it beginning is naked dnd 
without forme jind hath nothing init,but a possibility to rccciue 
formes, many hue doubted why the high Cr cat our did not giuc 
knowledge naturally to man as wellas to othtrfenfible creatures. 
Forfome haue naturally the art offpinningyfome of making honyi 
fome ofweauingifoinc of doing other things : but men is borne naked, vnarmed, 
without any Art frying the fir ft day of his birth, and nciter laughing til he be 40. 
dayes old(as Pliny wrttethin the Prologue of the j.booke of his Nac.Hift.)// man 
iherforeinferiour to beajls?in no fort for that nakednes of man doth not argue 
his vnworthineffe,but his noblenefJe.For that which is within, hinders not that 
which would be without. Hence is it^(wefee)that thofe animals jxhich haue arts 
naturally fan doe nothing but that natural Art .But man wanteth all Arts y that 
he may be ft for all: which isproued by the natural deftre hee hath to knowledge. 
For Arts are defired by all, though they be not bought by alls ond afe praijed 
by all f hough they be not fearched after by all. The hindrance is [loath, pUafure, 
vnordcrly t cachings dpoueriy. And though we haue naturally the deftre of all 
Arts jet aboue all we doe defire and loue the Art of Singing. For that doth en- 
tife allliuing things wjth the fweetnes y draw them with the prof t^andouer come 
them with thenecefsity of itiwhofe parts (thogh they bealbotbfaered&diuine) 
yet that which we cat the Counter 'point js moreJweet,worthy,& noble jhan al 
the refl.For this is the dwe lling place of al the other, not that it cot aim in it al the 
difficulties of MuC\6iC;but becaufe to make it, it requires a learned and perfeii 
Ziufitian.Whcrforc halting dif cuffed of the rejl, leaft our Office be fay lino in this 
lafl point, I thought good to handle the Counterpoint, placing it in the UflpLtce 
(as it were a treafury)wlerin al thefecrets tffMufick are laid vpinot that hereby 
all men jo whom naiure is notferuiceableM)ouldfallto compofitionjm that all 
men may iudge whether thofe thims which be compofedby other s,be good or bad. 
Tet whofo can y let them compofe by our writings : they which cannot, let them 
proceed,asfarre as they can. 

But not to digreffe too wide, (worthy Sir) I haue in this Ltfl booke y collected ' 
the Rules of the Counter-point,out ofdiuers places for the common good of lear- 
ner s>which J bring to you to be weighed \that after your cenfurejt may befubie- 
ciedto the carps of the malicious. For from your fentence no man will euer ap* 
peale' 7 becauje there is no man either learned er > or fub tiler in this Art \than your 
jelfe,who befdes the praclifejjafl wifdome y eloquencc,°entlencfJc, quickneffe of 
wit,&* in al kinds */Mufick a diume indufry /mi further the knowledge of ma- 
ny other fcicnces.Tkou wantejl the bodily lampfut in thy mind/hineth thatgol- 
denbght : thou feefl nothing without thee >within thee thou fa rfi al things J hots 
wantefl the deer eneffe of the eyesjhou hafl the admirable quicknes of wit : thy 
fight is weakjhy vnder/landingftrong;lVherforr not onelyby thy princes y who 
are to theemo/lgratiousjjut cuenofallwcn (like Orpheus WAmphiou) art 
thou loued.Farewell, the honour and delight ofMi\i\diC y andprotefftby An- 
dreas from Zoiliflcs and Thcrfuiflfo. 



Qap.i. 



77 




THE FOVRTHBOO K E 

OF 0%2^fTH0TA%C H VS HIS 

Muficke, declaring the Principles of 
the (gaunter-point. , 



The Argument of Mailer Cotherui* 



The Fi rst Chapter. 




Of the Definition ^Diuifion^nd difference of the names of the Counterpoint. 

.Icomacbu* thcMufirian faith,That the An c&Mufckc was at 
firft fo fimplc,that it confuted of a letrachord. And was made 
with the voice Afia ,that is,one Voyce a!onc(for Ajfi the An- 
cients called alonc,whcrcof it is called Fox aJfajNhai it is vt- 
f ^ .-y - _ tercd with the month, not adding to it other Muficall Cm- 
tttf/j,whcrcin the praifes of the Ancients was fung, as Phil. Beroaldus wrx- 
tech in the Tenth bookc of his Commentary vpon Apuleius. Yet by the 
mcancs of diucrs authors,thc Teinchord from fotire Cords grew to fifteen. 
To which the after- ages hauc added Hue and fixe Voyccs, and more. So 
that a Song in our times hath net one voyce alone, but fine, frxc,cfght,and 
fomctimcsmorc.For it is euident,that lojnnes Ckeken did compofe a Moc- 
tct of' -» 6. Voyccs.Now that part of Mufick which effeaeth this,is called of 
the Mufirians,thc Counterpoint. £ov a ' cunt *cr feint generally , is nothing clfe 
than the knowledge of finding out of a Song of many parts. Or it is the 
mother ot Moduhtionpv{2sFr echinus lib. $~ap. i. writes) it is the Art of 
bending founds that may be fun-^by proportionable Dimenfion, and mea- 
furc of time.For , as the clay is inthc hands of the Potter -, fo is the 1 making 
of a Sono inthc hands ef the Mufitian. Wherefore molt men call' this Art 
not the Counter-pointy but Ccmpcfoicn. Afsigning this difference of names, 
and faying, that Competition is the collection of diuers parrs of Harmony 
by diucrscW^/.For to compofe is to gather together the dtuers parts of 
Harmonvbv diners Concord* .hwihcCounrer-potnt is the fothine, and vn- 
cxpeftcd'ordcringofa plaine Songby ciucrs Melodies by chance-Whence 
Sortifire fignifics to order a phtn^Songby certain Concords on the fodaine. 
Now it is called Counterpoint [is Bicchus. faith)as it were a cohcor&nt Con- 
cent of Voyccs fct one againft another, examined by Art. 

Y Of 



y 8 Of Qoncords and Dif cords* Lib. 4.. 



Of the Diuifon of the Counterpoint. 

T He O*;*/^-/*/*/ is two-fold : Simple and Colourcd/Thc Simple Coun- 
ter-point is the concordant order ingof a Songof diucrs parts by Notes 
of the fame kind. As when a plainc Note is fa againft a plainc Note, a 
BrerfeZQMnftz Breefcythus: 



m 



Difamtus. Tenor. Altut. Bdffus. 



The Coloured Counter-point is the conftitutionof a Songof diucrs parts 
" diffcrir 



by diucrs figures, and differing Concords ,thus 

iiiSliiigilgfeip 

Bdffus. 




Cant us. 



Tenor. 



Alt us. 



The Seco nd Chaptfr. 




Oj Concords and Viper ds. 
Eing xhztConeorddnce (as faith Boetiu*) is the due mingling of two 
or more voices ^and neither can be made without a Sound , nor a 
Sound without beating,nor beating without Motion, it isneceflary 
motion be diuidcd-OtniOtions therefore fbmc be cquall,fbmc vnc- 
quall.Now itisplainc,that out of the equality of Motions doc proceed equall 
founds,and out ofthc inequality of it, vnequal (bunds: and out of the mean 
incquaJitic doe proceed confonant Sounds, out of the greater incqualitic, 
Dif cords. Hence is ir,that the Fythdgorean r concludcd^that no Concord could 
be beyond the DiJ f diapafon (as before appeared hb.\. r^.5.) becaufcof the 
too great diftancc of the extreames. By how much therefore Sounds arc 
ncercr one anothcr,thcy arefo much the fwecter? and the further they arc 
diftant one from another,thc leflc they agree. Which I doc chiefly prouc to 
come by the incquall falling of fuch founds into the cares, bccaulc aCon- 
(bnanceis a mixture of two Sounds, falling into the cares vniformcly. For 
high Sounds arc heard fooncr, than bafe Sounds. As a fliarpc Sword picr- 
ceth quickcr,whercai a blunt one doth not (b, but enters flowly : cuen fo 
when wclrcarcan high forced Voycc, it ftrikes into one : but a bafe voyce 
dothdully,as it wcrcthruft atonc,faith Carhuslib.io.ap.tf. 

Of Voyces. 
T> Ecaufe the likeneflc of Voyces, doth not breed Concordat the viilikc- 
^ nefle.Thercforc Voyces arc called [o\\\eVmjom\ fome not Vnifons.Vft 
fons arediofe, whole Sound is one. WnVntfons are diofc, whereof one is 

deeper, 



C a P*1* Of the T>ii4ifion of Concords. 79 

deeper ,anothcr higher. Of not F/*//£/«, fomc *zc,*quifoxSi(6mcC*nf*Mi 
fomc I tnmelcs'Somc Dtffonant.Aequtfonszxz thofe^vhich being ftrokctogc- 
thcr,makc one found of 2. as Disfafon and DtfdiaPafon. Con/ones arc thole, 
which yccld a compound or mingled Sound,D/^pfl*/* and Didptfhn dufentc. 
Emmclcs arc thcy,which being not Con fonts y yctzxt next to Conjontsxs thofc 
which found thirds, fixts, or other imperfed* Concords. Di/cords arc they 
whofc Sounds mingled together doc ftrikc the fence vnplcafingly. 

What Concord is. """" 

BY that which hath been faid appcarcs, thatConfonancc(which other- 
wife we call Concordance^ the agreeing of two vnlilcc Voyces placed 
together .Or is(as7/i;^rwritcth) the mixture of diuers Sounds, fw'cctly 
plcafing thecarcs.Or according to StapuUnfis Ub.^. I: is the mixture of an 
high, and low c found, comming to the cares fwcetly,and vniformcIy.Of 
which (among the Practickcs) there are two vfed, although fomc by ixpcar 
ting the former, hauc more. 

^Vnifon,-v8 (i^ 



\ Third, I 10 \ 17 (f r mfonum &• tundem caHfintfonmm, 
ytZ " ] Fifr, C 1 2 f 19 ? quid finnt m octauts. 
^Sixt, ^15^20^ 

Of Dtfcords* 
A Di/cord(zs faith Bchitis)\s die hard and rough thwarting of two founds, 
i * not mingled with themfc!ues .Or/as Tinclor faith)it is the mixture of 
diuers founds,natura!ly cffcr^ingtheeares,whcrcofchcrc be Nine: 

c Second, 79 ri*^r- «, * r r 

Vt~. <> Fourth, > 11 > i%>* mm & * u »*<™ <*»[*"* ft*"** 
^Seuenth,Sx 4 2l ^ <I*«frntm octants. 



The Thud Chaptex. 

Of the Diuifun of Concords. 
i^.^r^X ^ c ™ (or < 1 '» lr> <" fome be Ample or primarie.as an VmJon i a third 
r« k§|\{ a fift » and afiw.Othersarc repeated or fecundary ; which are 
fcV5&4» ™° "l"'/ "* t0 &«" tJu ^ goe bcfore,proceedingof a duple di- 
t£±.*S^J mention. For an eight doth a^rcc in found widi an vnifonja tenth 
with a thirdja twelfth with a fift; and a thirteenth with a fixt.Othersarc tri- 
pled,to wic, a fifteenth, which is cquall to the found of an Vnifon, and an 
Eight, A fcuentcenth.which is e<]iiall to a third, and a tenth; a nineteenth 
which is equal to a fift, 5c a twelfth* twcntieth,which is eouall to a fixe and 
a thirteemh,andfo forth.Of Concords alfofomebe pcrfcc^fbmcimperfccl. 
The perfcel are thofc, which being groiuidcd vpon certainc Proportions, 
arc to be prouedbv the helpe of numbers.Thc imperfects not being pro- 

Y 2 bable, 



8o Of the generalities Lib.\. 

bablc,yet placed amongchc pcrfcAs^makc an Vnifon found,- whole names 
arcthefc: 

^Vnifbn^p ri2-> C 1 3 / > 

The Pcrfc&s arc ^Fift, > ajid<ij> Impcrfc&sarc^i-C 

c£ight 3 J ci^J CtoS 

Each whereof (imply carryed^doth recciuconcly two Voyccs, although 
by corruption it receiuc more. 



Rules of Concords. 
T7 lift, Two pcrfc&Concords of the fame kindc 3 arc not fuffercd to follow 
•*■ thcmfclucs 3 but Cords of diucrs kindes may well. Vet an Eighty (b that 
they proceed by different and contrary Motions, faith Francfnnusltb. 3. 
fc^.3. thus : 

Dtjcantus. Tenor* 

2 Two impcrfcS Concords or fiiorc^ arc allowed to follow themfclucs 
together,afcending or defending. 

3 Let alwaics the next pcrfeft follow the imperfefl Concords ^ls an Vni- 
fon afrcr an imperfeft thirdj a fift after a perfeA; a fift after an impcrfeft 
fixtj an eight after a perfect, as Gjforus lib.$.cap. 3 .dcclareth. 

4 Many pertc&ccncords of the fame kindc immouable arc allowed to 
follow one another jbut themoueablc nou 

5 A Mtnime, or his p&ufe is not fjfficicnt to come betwixt perfedt Cork 
r/?r^/ofthcfamekinde.becaufe of the little^ and as it were infallible (bund 
it hath, although by mod the contrary be obferucd. 

6 It may foil out fo,that a Minime or a Crochet ynay be a concord in parts 
contrarily proccedinsr,for fuch a dtfeord is hidden, nothing at all offending 
the eares.Yct muft you take hcedc^lcaft two or more be ioyncd togctlicr. 

7 A Brccfe or a Semibreefe difcording^is banifhed from the Counter- 
j tint . Yet be therc,that admit a Breefe difcordant diminiflied in a £j±Adru- 
}le } and a termor fcfe diminiftiedin a Duple. 



Tm£ Fo VRT H C HAFT£S. 

fj J tlx&nc*^ Rules of the Counter-point. 
Xr0&$ Irft^lf you dcfirc to compote any tl jing,firlt nuke thc7>/WjOr (bine 
|Syi£ otlicr Yoycc: according as the Tone by which it is ruled doth 
jy^**? require. 

2 The vnufuall Moodes arc by all nieancs to be auoyded: for they al| 
arc £)/7^i* f cxccpt the tenth* 

$ in perfedt Concordances ncucf fct a fljirpc Voycc againft a flat, nor 

coiurarilyi 



C a P*4* Oftbe'R^lcsoftheQcuntcrprant. 81 

com rarily,but fet a Sharfe againft a ^r/* ; a //if againft a flavor ac lcaft 
againft a natural!. For the Naturals arc doubtful^ and will a£ree *jtbL} 
JJuresfLnd b Mols, thus > 




73rwr. B*fe net good. Bsfe is good. 

4 If the Tenor in the plainc Song goe coo cfeepc > tranfpofc it co a fiftjOC 
to a fourth jf need be, as you may fee in the Hjmne y £uem lerrs. 

5 All the parts of the Seng in the beginning and end were by the anci- 
ents made of perfect Cord s : \\ hich Rule with vs is arbitraric. 

6 When one Voyce goes vpward or downeward.you need not vary cha 
reft : becaufc to an immovable voy Germany mcuabie voices may be fitted. 

7 In euery Song feekc for the neerefr Cancer it : for they which arc roo 
farrc diftant,doe tafte o(Dtfc*rd y fay the Pythagoreans. 

8 Let the Tenor together with the reft haue Iwecrc Meiodiejxi wandring 
Collations. 

9 If the Tenor touch die Meatus and Trebles y the Mesne may defcend co 
the place of the Tenor. 

io If the Tenor fall to touch the Bsfe^cz the Bsfe goc vp into die place 
of the 7wr 3 according as the Concords frill require. 

11 Euery Song,muft be ofecn adorned with formall Clofcs. 

12 If the Tenor fhall haue the Clofe of the Mesne \ the Mesne on the 
other fide toll haue the Clofe of the Tenor \ by ending cither from a tenth 
in an cight^or from a thiri in an Vnifcn, thus : 

Difcsntns. Tenor. 

1 3 If the S sfe cake the Clofc ct :he Tenor, the Tenor ilriil cake the Clofe 
ot the Meune y Or if the Bsfe take the Clciccf the Mesne y die Tenor ilxall 
take his Ciofe,as in the Rule gomg bebre is ihewed, duis ; 

IlIillillBiilliSfli 

Tenor. Bsfe. 

\4 The Mesne uoch ieluoaic :akc a hft abouc :he Tenor • but the :m* 
feci Concordances^ times. 

i s 'I he &*/* muit icldome or neucr be placed in a fixe v ndcr the Tenor y 
vnlctlc aat^hc tWghc folks* , buc in the 'xifc&Cewrds it may often. 

L * :o If 



8i Of the pnerallltflcs Lti.^ 



if Ifthe Jtyrhaiie a fift *ndcr the Tenor f let the Meant be let in a lilt 
about the 7>iw,by ending in a third, thus : 

I>if;jLntu$. Tenor. H*[J»s< 

17 La die <Vaiw fcldomc Icape by afift vpwards , but by a list and an 
eight it may oft: to which alio ancightdowncwardisloibiddcitjthoiighall 
the other Internals be grauntcd. 

iS AiB^r may not Icapcafixt, it hath all the other Modes common. 
— to lnFourths«V* doth not agree with f J,bccruife it niakcth iTntom. 

2 A Fourth though being hmply taken it is a Wf<orH\\c\ bcinij ioyncd 
toaOwri,and mingled therewith^ makcth a Concordant midfingwith 
the extreames, faith FrAnehimu* 

21 A Fourth is admitted oncly in wo places in the Counterpoint t firft 
when bring (but betwixt two Eijghts,it hath a fift below, llccaute if the fife 
be abouCjthc Concert is of no force : by that rcafon of Ariflotles (whom 
FUroaHc&iAndrAoftes, that is an vnwearied Reader of Bookcs) whereby 
b hisProblcmes hefhewes, that the deeper Difcordant founds are more 
perceiued than the higher.Secondly^whenthcT^Wf and A//j/^,docgocby 
one or more fixts,thcn that Voycc which is midling, (hall alwayci keepe a 
Fourth Yndcr the Ca»t*s,ZTt& a third abouc thcTenor. 



^^ii^iiiiiffflill 



The higher Vojee. 



fe^il flf^lilSitplIill 



ThemiddltVojti. 



7heUmeflV0)ti. 
2 1 The tt'A farsjaz mirror 'jfxhi Count erf omtp'.(U\\\i froinhirmi) 
iz^f vs~ ttfe go* '/sirA** with A.c Mesne, <jx a/>y Ml>er V'/yc/r, being a\Us 
£lS2tz by 2 uzzy.,*. :.lA *\.* 'fentr bt\% yjA \n (.owed v> Lf><|j,fJjui : 






Tinof burnt. 



'faff Alt *mt »l $U t*fi $0 lU 7t0tk. 



n u 



'C*M* 



of the Qctmter 'point. 



8? 



23 If you ioync not the fame ' ontord^wx fhall make two parts Cen- 
ter d$ in Tenths. 

24 It is neceflary for yong beginners to make a Scale of ten line*, then 
todiftineuifhit by bounds, fo that thry may write each time within each 
bound* bykeyes truly marked ,lcaft the confufed mingling together ofeh« 
Notes hinder them; yet is it better to compofevithour a Scalc.butbecaufe 
it is hardjet yong men begin with a S^ ale, thus: 




Neither muft young learners thinkc it a matter of no weight, how the 
fignes are fet together J for by the vncrdcrly refcrringof them,ib many er- 
rours hauc fprune in Muficke, that it is hard to be knewne, in what path a 
man may goefafe. Wherefore if a man will compare one figne with ano- 
ther, lcthimciiefufly markc the nature of the Diminution and Proporti- 
ons, leaft referring this to char, the tncafure of the one be too great, or 
too little. 

Thi Fift Chaptfiu 

Of the pjtrt: md Clofis of a Svt*. 

He Ancient fimplciiefie of Muficxc,xnew net the diucrs ports of 
^ 1 Song,which the fubctcnalc ofcvi a^e requires. For the whole 
being encreafed, 2! che parts arc incrcafcd.Now the parts which 
Mufitians at this c:me vfc,arc many, co wit •, :he Treble , Tenor \> 
high Tenor y Mekaie, Cincorixnt. Vi£ruit, Cwr&tenor^ Safe 5 vca^and more 
than thele.Birc bccaulc they cc :10c all commonly vicd,wc will ipeak fom^ 
what of thole which arc moil commonly vfed; of the rcrt nothing. 




Of: he DtfcAMHs. 

He TS;:.\»:»s (.is Tmtftr frith* is a Sengmadc ci iiucrs voyecs. For ic 
is called VtfcM*s> j^u^i dmer fus Cwtns > chat is, as it were inocher 



T 

SongJBy which name the ancients did call cucry Menfurall Song.Sut wc,bc- 
caufc Difcdtitus is a part of a long fcucred from' the :cit,w ill ceicribc it thus. 
Pt/wtus is the vppermort pure of each Soog. Or it is an Harmony to be 
fongwitha Child* Voycc. * 

Z 1 Of 



$4. Of the Tarts And Qlofes of a Song. Lib. \. 

Of the Tenor. 

A Tenor is the middle voyce of each Song, or (a* G^m writes &fe.j, 
**eapj.)iii$ the foundation to the Relation of eucry Song* io called a 
Ttnrndty of holding ,bccaulck dothfioIdtlrtConfonance of all theparts 
in it fclfc,ip fotnc rcfpc& 



Ofrhefltritone. 
'T* He frf/ftu, (or rather /Lyi) is the lowcft patt of each Song. Or it is an 
■* Harmony to be lung with adeepe vO'vcc, which is called B<iritottH*jx 
Vari, which is low^ by changingrinto 7> jbccaufc it holdcth the lower part 
of the Sang. 

Of the hightr Tenor. 
# T r Hchigh7Vwrjis the vppcrmofl pan 3 faue one ofa Songror it is the grace 
** of the Bdfe : for mod commonly it graccth the Bafe> making a double 
Concord with it.The other parts eucry Student may defcribe by himfelfe. 

Of the form J! Clops. :Tr " 

TD Exng that eucry Song is graced with formall Clofes, wc willtcll what a 
*-* Clofe i% AVhcrfore a Clofe is^zs Tin3cr writes) a little part ofa Song,in 
whofc end is found cither reft or pcrfc&baOr it is the coniunflion of vox-* 
ccs (going diucrfly) inperfed* Can&rds. 

Jiulcs fpr CUfes. s 

17 lift, Euery Clofe confifts of three Notcs^ the laffyhclaft faucone,and 
^ thclafifauctwo. 

z TticClejc of the Drfcartu: made with three Notes 3 (haII alwayes haue 
thclaftvpwatd. 

3 The Clofe of die Tenor > doth alio conflft of three Notes, the lail al* 
waves defcending. 

4 Tin: Clofe of the lefe requires 'the laft Kote fbmetimc aboue , and 
ioaiCtime bcricath the Tenor. Yet commonly it thrnfts it an eight below, 
and ibmedmes raifcth it a fife abouc 

5 Tlic Clofe of a high Tetwr/iotii foinctiinc rifc/omctimc fall with the 
laft Note; foinetimc msi.es it an Vnifon with others. Which being it pro- 
ceeds by ciucrs n;ouo. r ii, the fo/rjr.gof it i> ji the plcafurc of the Com- 
posers. 

6 TI'jC cUfe of the Itifitotu* /ja\\ require the laft Noic fane one abouc 
the 7<vw in * fixi . or iss * fifr if >Le fl^/ir hold a fi*r bclpw. 

7 The hit N<xc fi'-coi.cofa Tentrj* fbily placed a fill abouc the Bj/J* 
ar*d ^.{Uta^if rixlufe uU x\xCUfe iAilxTcnor yand ihcTfiw lUcClifc 
<jf the JJipiiiim. 

fc Max Ckfe of rLc 7>**r aid in //i/^i ii i*jn the Deuteropx othenufc 
r:Aiai ; Koulaoi.t oftLt£*/t Lcjiigpbicdi'<^iii die (ill. Jim in the thud 



LuuMii 



C*p- * 



in the QfatMet'foinii 



S* 



beneath the Terror, may fjt'A .'pr>n the fifr Finall wichontany hazard of 
Deft ant, as it declared jtfrhcvnder- written Con'?**. '* -- 




'frrrr 



r.tr-.-'t 



9 Ihhcdofe of the 7?**r end iivJ?^ a : commorik' ;r doth ! i rhchr^. 
Tonejfix: P,*(e fhaii very finely end from a rift ro .i chird vyw ;r d.uoc viryiJ-* 
the Infant H5f\& t <Av&i\x. mavaifofall into an c/chr. 




E@18§ 



T?r*r 



io EucrySongis !b much the fleeter, jy how much the fuller :r is of 
for mall CloJis.Tox fuch force there is in C\W?:, rh-x it maxcrh DiUor<is be- 
come Conor di for perfection fafccThcrcfcre let Students labour to nil their 
Songs with formal! Ci^;.N^w chat they may the more ssfily doe ihis 3 -.ve 
thought fit here to fer dowr.c anEzercifcor Srnre-haufc of Cluhs. that h;ch 
as Students (lag hcre.thcy may know they arc in their ownc Songs to make. 



Htref^lovp^th the Ixtrofc 'indjerme at 'clofes. 




Dil'iMTTMt, 











$6 OftbefpcciallTrecepts Lib.^ 

iilHSflliSlllfiiS 

■ — ■ 1 ■■ >■ ■ ■ — ■ ■ ■ ... . , ■« , — . — — ■■■ ■.,.,,,» — . . .„ 

Th* S* xt Chapt*JU 

Of the (peaM precepts of the C writer -point* 
Auing dcliucrcd thofc things which wc thinkc ncccflaric for the 
Art of fctting,now will wc in mod fhort Rules open cflcntially 
the nutter it iclfc, as it is. 

I The Camus being ordered with a Tenor in an Vnifon,the 
Baft requires a third bclow 3 andthc,4/r«j the fame abouc. Or thcB«j/?afifc 
below ,and the Altus a fourth abouc. But if the B&fc hold an eight below, 
the Altu s fhall agree moft fitly in a third abouc,or in a fourth below J$ut if 
the &*/r bold a tenth below } xhc Altus requires a third abouc/>r the fame^of 
a&a Sdow, as you may fee in thefigure following. 




Extti. JV/m. ! Seciiihti. 



Tt>rt\). 



{"-membri. 



SaB 



- Aftis • * \ 



US 4 



Aftiis 



Ps.6us * 



~DiSc2i:Ter>or'sUise5':J£nor » \Qmtus:Tcncr » 



B.i5fus $ 



^a4* 



t+. 



Di$: Tenor 4 
Afots 4 



* 



! BaQs. * 



&*$us-4- 



-A/ihs-0 — 



1 



2 AsortasthcIV/r^/Kjhplaccda 3.abouc xiicTenorJct the Bafe be placed 
a -third below ^.nc die Alius a fixt abouc,or in an Vnifbn.Bur ifthc B.ije haue 
an eight bebw^for a £ft it cannot haue, die Altus flail hold a fourth be* 
lowJkiufdie#*/<rhoid a tenth below, the Altus requires a third, or afixt 
below .Whuch s Student may proucby fucha Scale as goes before. 

3 If die Liftcfitus hold place m a nft aboue die Tenor ^\\\c\\ ic fcldome 
doth/he JB^/rfliallbc in a fixt below,and the Altus in a'diird abouc,or in 
a fourth below. Rut if die Baft be in an eight below, the Altus requires a 
third abouc, or a fourd), or a fixt below. 

4 If the bifttntus be in a fixt abouc die Tenor, the J?j/<? flalbe in a fift 
below ,aud the Abus in a djird below, or a fourth aboue. Or ifthc Ba/c be 
in an c;g'it bclow/hc >*//*/ ftjall oucly ajjice in a third abouc j but when the 

Bj/t 



C a p*l* °f the Qounter^oint. 87 

B*fe is ki a tenth below /ne /*/'*' fnalbein a third aboue, or in the fame be- 
low, li might al(b be in an eight bslow^ and found a thirteenth with the 
Dtjcantns. 

5 If the hifi&ntui be placed in an eightabotie the Tenor, the &#/? will 
agree well in a third belong* the >*///</ in a third or fixt abowe^r in a rift 
bclow.But when a B\Je be in the fame below, the <^Zf *jrfnalbe in a lex irth or 
fixt aboiic,or in a third below.If theik*/* be in an eight bclow^che Alius fhall 
fwectly agree in a fife or third aboue.fcut lfthe Btfe fall toa tenth be[ou\ihfc 
y*//*; fhall hold a third or fixe aboue,or thofamc below. 

6 As oft as the Htfc&otus doth reft in a tenth aboue the Tenor: the Rtfe 
fhall be in a thrd bclow^nd the //Zf */ in a third/ixt.or eight aboue,- fr*t it* 
the £/*/* be found in a third aboue, thtf Alius fftalbe in a third below, or in a, 
fift or eight abouefcut if the Bs{e be ir. a fift aboue the Tenor, 'for below it 
cannot) the A Uus fhalbein a third aboue, oran eight below. But if die B*fe 
fall to an eight below, the ^f/:«f may be in a fourth below, or in a third or 
fift aboue. 

7 When the Difctntus is in a rvelfe aboue theT^wr, thcr Ri/J mult be in 
an eight beIow,& the Altusin athird,fift 5 oreight abouejiiitwhentitc S*& 
is in a third aboue^he Alt us fhall be in a fift. cghr. or tenth concordantly. 

8 lfthe Difcuttms be in a fourth aboue the TVmt , the 'B-i/J requires 2 
a fift be!ow,6d the -*/?** a third or fixt aboucCcntranlyf if you make your 
B--/rfirft) you fhall make it with the Drfuntus. Euz ;fa man will make more 
than 4. parts,!ct h.m take the Conor dt aboue or below, as other parts tbail 
require,obfcruing thofe things which are to be obferucd 2 which wc rcterre 
to the Setters Judgement. 

The Seventh C a. t?rss. 

IVherefjr: Rcjh xrevut in the Counter -point. 

_He placing of Rejh in a Cjunte r point a is for many etufes 
J^? toUcrorcd. 

1 To aueide difficuIty.For whilftnvo ports of a !ongor more 
are to fitted together chat it is hard to lit thcother parts, wc fct 







Kejh for folong, till chatviifiiculticceafe. 

2 To ai:oicer:t7Voiccs 3 indthcforbiddcnIntc v uals. 

3 To diitinguifh two perfect Concords which cannot mutually follow 
one another ,vn!ci£* a Note ?r paufc come betwixt. 

4 For the making of S»gnc>.Now a figne is :hc fucccifiucuillribution 
of one aiidthcu \x dole, in die beginning or any other place,by uiuers 
pans of a Song Or it is Ac repetition of Ac Tame C\cic in Jiucrs parts of 
the lor g thai ; 

L\f(Mi:*s Tenor. Ssjits. 

\ \ t. > 'iejs 




88 IVherefore'R^flsdrcfut Lib.^ % 

5 Refls arc admitted for taking breath, Icaft by the fwifmeflc of the 
Song,cithcr the Singer might he out of breath, or breed contufion by ta- 
king his breath at vnfit times. 

6 That tho IntrinfecJl figiics and marlccs of Muficall dcgrccs,confifting 
in their perfc&ion,may bcpcrcciucd .For a pcrfctf Mood is inwardly hotc4 
by a reft of j.timcs.Aperfca time by 2 JV/wfcr^Refts,placcd with a Semi* 
brctfe, asbeforcis faid inthefift Chaptcrof thelccondbooke. 

7 Bccaufcof the many parts ofafong For when a fbng goes with more 
parts than fourc,it is ncccflary that fomc Reft, whilft otbers fing : leait the 
fweemeflebe dulled cither by the too much prolonging of the Voices, or 
bv the vnclegantcommixtionof Cdncords^nA ifothcConfortfccmciathcr 
to make a noyfc /hen a Concordant found. 

The Eight Chapter. 

Of the divers fajbions of fmgmg^ndoftheTen Precepts for Sinfrng. 

~ ^JVery man Hues after his ownc humour; neither arc all men 
goucrncd by the fame lawcs, and diuers Nations haue diuers ta* 
Sions^nd differ in habitc^ietjftudies/pccch^nd long. Hence 

. is it, that the Engliih doe carrolfcthc French fingj the Spaniards 

weepesthe Italians, whidi dwell about the Coafts of Jattua caper with their 
Voycesithc other barke : but die Gcrmanes (which I am aftumed to vttcr) 
doc howlc like Wolucs.Nowbccaufe it is better to brcakc friendfliip,thaa 
to determine any thing againft truth,! am forced by truth to fay that which 
the loue of my Countr ey forbids mc to publifh. Germany nourifheth many 
Cantors 5 but few Mufitians.For very fc\v,cxceptingtho(c which arcorhaue 
been in the Chappcls of Princes, doc trucly know the Attof Singing. For 
thofe Magiftratcs to whom this charge is giucn,doc appoint for the goucrn- 
ment of the Sendee youth Cantors, whom they choofc by the (nrilneflc 
of their Voycc,not for their cunning in the Arts thinking that God is pica- 
fed with bellowing and braying, oi whom we read in thcScripturc,that he 
reioyceth more in frectnes than in noyfc,morc in the affc&ion, than in the 
Voice .For whCSalcmoit in the Can titles writcth,thatthe voice of the church 
doth found in the cares of Chrift, hec doth prcfcntly adioyncthccaufc,bc- 
caufc it is fwect.l nercfore well did Baptifta MantuAX(th2Unodcmc Virgfym* 
ucigh cucry puffed vp^moran^cllowingCanto^faying* 
Cur t ant is deUbra Bourn mugittbus impUs, 
Tu ne Deumtali crtdispUctretumultu. 

Whom the Prophet ordained fl »ould be praifed in CymbaIs,not (imply, 
but well founding. 

" Of the Ten Precepts necefiary for every Singer. 

BEingthat diuers men doc diuerfly abufc themfeluc* iw Gods praifei 
fotneby mourns dicirbody vndeccntly > (omc by gaping vnfecmcly > 
fome by changing the vowels ,1 thought good to teach all Cantors ccruine 

Prcccpts,by wliich they may crrc leflc. 

i When 



£ ap.S 9 tn ihc Qpunttr-foint. 89 

1 W hen you defire tofing any thing, about all things markerhe Ime^ 
and his heprtujsion. for he ihatfingSa Song wkhout knowing the T*ne 9 
dotli like him that makes a Jy llogifmc without Mtrie and figure* 

2 Let him diligently nrurke the Scab, vndcr which the Song runneth^ 
leaf t he make a Flat of a s W/r or a Jiwr/* of a ^£1/. 

3 Let cucry Singer conforme his voyce to the words, that as much as 
he can he make the ttneent fad v. hen the words are fad>& merry ,w hen they 
arc merry Wherein I cannot but wonderat the Saxon* (the moftgaliaiit 
pcoplcof all Germany, by whofc furtherance 1 was both brought vp, and 
drawnc to write of Mufickc)in that they vfc in their funcral$,anhigh,mer- 
ry and iocondeO/w*f , for no other caufe (Ithinice) than that eitiier tiicy 
hold death to be the crcarcft good that can befall a man (as ykUriusm his 
fift liookc writes of Cleohts and Biunv*o brothers) or in that they belceue 
that the foulcs(as it is in Microtias his (ccond Bookc DcfomMtSap.) after 
this body docreturncto theoriginalfwectncsofMufickc,thatistohcaiK8, 
V\ hich if it be the cau(c,we may iudgc them to be valiant in contemning 
dcath,and worthy dcfircrs of the glory to come. 

4 Abouc all things keepe the equalitic of mcafure. For to Cinq without 
law and mcafurc^s anotfence to God hirafclfc, who hath made ail things 
wcll,in numoer, weighted meafurcVWicrcforel would haue the F aftcrly 
Frjna(my <ountrcv-men)to follow the beft manner, and not asbeforc they 
hauc donejfomctime longifomet ime to maVcfhort theiSotes in Rauvlor.g, 
but take example of the noble Church of AVy&ppZu, their head,whcrin they 
ling excellcntly.V\ hich would alfo much profit,acd honour the Church of 
riMcr.becaulcin h alfo tliey make the Notes lomaimcs longer, fomcomc 
(hortcr, than they fbould Neither muft this be omitted,, which that louc 
* hich wc owe 'O the dcad,doth require. VVhofc Ftgtls ^fbrfo arc they com- 
monly called)are performed with fuch confufioo,haft,andxncckcry .(Iknowr 
not whatfiiry ptfkflcththcmindcs of thofr, to whom thi* charge is put o- 
iicr)ttat neither one Voyce can be diftinguifhed from another, nor one filr 
fcblc from another* nor'one verfc fomctirnes throughout a whole Plalme 
from ar.edicr.An impious fafhicntobc punifhedwith the fcuerclt correcti- 
on. I hink vou that God is pleafcd with fuch howling, fuch noieiuch mum- 
bling in which is .10 dcuotion, no exprdGung of words, no articulating of 
lyllablcs? 

5 Ihc Soncjs of Authenticall Tones muft be timed decpe, of the 
fubiugall Ton -s high,of the neucrall/neanly.For thefe goc dccp,thofe high, 
the other both high and low. 

6 The chafing of Vowels is a (igne of an vnlearned Sir^cr. Now, 
(though diuers people doe diucrfly oifend in this kindc) yet do A not the 
multitude ot offenders take away the fault. Here 1 wculd hauc the Franks 
tn take hcccc they pronounce not * for o y as they are wont, faying nufier 
for Mjltr. The countrcv Church-men aiealfo to be cenfurcd for prououn- 
cing,. Jwma j in ftcad of Ore m* >. to like fort t doc all the Remnfts fiom Sflre 

D Bb to 



9o 



J Jxr Of the diuers fafhions of Singing. Lib.q.. 

to Ccrfiucntu change the Vowel i into the dipthong ri, faying Mareia for 
Maria.lhc Weflfhaluns for the vowel a pronounce a &c e togcthcr,to mt,Aebs. 
te for Aste.lhz lower Saxons,& al the Sueuiansfox tht Vowel /,rcad e Stfj 
faying,Df /*i for Dtus.1 hey of lower Germany doe al! cxprcflc u & ^n ftead 
ot tht Vowel u. Which errours > though the Germane fpecch doc often re- 
quire ytt doth" the Latinctonguc^tvhich hath the affiniticwith ours^cxccc- 
dingly abhorrc them. .;:;... 

7 Let a Singer take heed, lcaft he begin too loud braying like an Afle,or 
whai he hath begun with an vneuen height, difgracc the Song. For God is 
notplcafcd withloude crycs,but with louely founds : it is not((aith our Era/- 
tnus) thenoyfeof the lips,but the ardent defire of the Art, which like the 
lowdcft voice doth pierce Gods cttos.Mofes (pake not,yet heard thefc words, 
Why doejl thou cryvntome? But why the Saxons, and thofe that dwell vpon 
thcBaltickc coaft,fbould fc delight in fuch clamouring, there is no rcafbn, 
but cither becaufc they haue a dcafe God,or becaufc they thinke he is gone 
to the South-fide of heauen, and therefore cannot fo cahly hearcboth the 
Eaftcrlings^ndthcSouthcrlings. 

8 Let eucry Singer difecrne the difference of one hohday from another, 
leaft onaflci*htHoliday,hc cither make too folcmnc fcruice, or too Height 

enagreat/ ' . , r .. 

9 The vncomcly gaping of the mouth, and vngraccfuU motion of the 
body,isafigneofamadSingcr^ ^ 

io Abouc all things, let the Singer ItudytopIcafeGod^ndnotmcnj 
(faith Guide) there are fooli(h Singers, who contcmne the dcuotion they 
fhouldfccke after? and affedt the wantonncfle which they (houldfhun: be- 
caufc they intend their finginc tomcn,not to God:fccking for a little world-* 
ly famc^that fo they may loofe the ctcmall elory : plcafing men that there- 
by thev may difplcafe God : imparting to other that dcuotion, which them- 
fclucs want : fecking the fauour of the creaturc,contemning the loucofthc 
Creatour : to whom is due all honour,and rcucrcnoc,andfcniicc.Towhotn 
Idocdcuotc myfclfe,andallthatisinine,tohimwillI(ingaslongas 
I haue being : for he hath raifed me (poorc Wretch) from 
the earth, and from the mcancft bafencflc. There- 
fore bleflcd be his Name world 
without end, Amen. 



The end of the Worfy 



!. r >4 « 

If", 







The Epilogue and Conclufion of theBoote. 

"^CVT^l Am t0 tritrcAt f ^ r tnrteous Reader fauourably to view this Worke of 
MuJicalThcoicmsfvhich lhaue before thisfomcycrespaflfearcfad 
outj&now at laflput into the for me ofabookeandprmted/iot out 
of any arrogant humour jsfomc enuiotu perfons wU Report jbut out 
of a defire to profit tie louth ofGermanyjvhiljt others aredrouftejfthebafcncs 
of the fide y or fimplenes of the words offend my man y Iwtreat him to attribute 
that to the matter which we bundle } and the perfons for whom it is ivritten } 
namely > C hddr en. 1 doubt not but there will be foment hat wil hrjaone ready to 
fnarleat strand to backbite it^contemnmg it before they read it> and dtf gracing 
it before they vnderftandit. Who had rather feeme than be Mufitians^ not obey- 
ing Author s y or Precepts > or Reafons : but whatfocuer comes into their haire* 
bratndCockfcombe^accounting that onely lawful \artificiJl y md Mufseall.7owhom 
Jintreatyou {gentle Readers) to lend no eare.Forit is a thingpraifc-woirthyto 
dtjpleafethe euiU.Tea y {tovfe thefentence */Antifthcncs the Phdofcpher)to be 
backbitedisafigne ofgreatneffe i to backcbite> a token ofmeaneffe. And becaufe 
the praife of one wt/e man is better than the commendation of Tenfooles-, I pray 
confider not the number, but the quality of thofe detractors zona thinke what 
an ecfie matter it is tofilence thofe Pyes> and to erufhfueb Fleas euen betwixt 
two nay les. Neither earkenye to thofe that hate the Art :for they diffuade *- 
thersfrcm that which their dulnefje wtll not fujfer them to attame to, for in 
vaine tt is to hrpe before an Affe. But account that this Ifpeake to you as a A£a* 
Jlerjjccaujc 1 haste paffed the Ferrular. For the cunning men in each Art mujl 
be beleeued^ast e 'Emperours Maiejlie faith. Wherefore let thofe courteous Rea- 
ders {that be delighted with Ornithoparchus his paines taken) be contented 
with tlxfefew things for asfoone as lean but takebreathjheyJJjallfcematteri 
of greater worth. 



<Bb% 




A TABLE OF ALL THAT IS CONTAINED 
IN THE FIRST BOQKfc. 

FtheT)efinitUnSDiuifion,T>rofit,andlnMentors of Mufkke,Q)Op,x 

OfVoyces. . _i — chMfZ 

OftheKcjes, chop.} 

OfTonet, \ .' : , . . * ■ chap.+ 

Of SolfitMion, c bap. S 

OfUMutationt, c bap.6 

OfMtodes, € bap. 7 

Of the Dimenfionofthc Monochord, chip A 

Of the Definiti*n,T)iuifion,and Profit of the Monochord, chap.p 

OfMuficaFiQa^ chop.io 

OfSpngandTronfpofition, chnp.it 

Of the Tones in/pedoO, chap.lt 

That diners men are delighted with diners Moodes, thap.it 



Hie Tablcof all thatis contained inthcfecondBookc; 

OF the Profit and Praife of this tArt 9 Chap.i 

Of the Figures^ jhaf-t 

Of Ligatures. chap.} 

OfMoede,Tinte,andProlatiei$, chap.4 

Of the Signet, c b*p.f 

OfTdS, c hap.6 

Of Augmentation, chap.? 

Lf Diminution, < , tbaf.l 

Cfthe^efls, chap? 

Of Pricket, chap, to 

OflmperfclHon, chap, jj 

Of^lteration, chaf.it 

OfTropertion. - ' rfwrp.lj 

_ 

TheTablcof alithat is contained in the IhirdBooke. 

IN the Praife eftsfecent, chap.i 

Of theTJefinition and diuifion of Accent, chap.i 

Of the generall %ules of Accent, chap.} 

Of the fpccia&%ules of Accent, . chapj^ 

Of the Points of Accent, cbap.f 

Of the Accent offpiJUes, chap.6 

Of the Accent of Gofpels,and Prophefies. chap.? 

ThcTablc of all that is contained in the Fourth Bookc. 

OF the Definition^diuijion, and 'Difference of the names of the Counter- 
point, Chap.i 
Offincords and ^Difcords, chap.Z 
Of the T)iHifion of Concords, chap.} 
Of the generaR Rules of the Counterpoint, chapj^ 
Of the Partt aad Chfes of a Song 9 chap.f 
Of the fpecia/l Precepts of the Counterpoint, • chap.6 
Wherefore %efis are put in the Counterpoint, chap.? 
Of the diners ftfhions for Singing. chap.% 

FINIS.